r.oss(iu-V. 


l\.\iii>ifjU^  f/iTetspectiMe'. 


THE 

OABTNET-MAKER 

AND 

UPHOLSTERER'S  COMPANION: 

COMPRISING 

THE  ART  OF  DRAWING, 
AS  APPLICABLK  TO  CABINET  WORK; 

VENEERING,  INLAWING,  AND  BUHL-WORK; 

THE  ART  OF  DYEING  AND  STAINING  WOOD,  IVORY, 
UONE,   TORTOISE-SHELL,    ETC. 

DIRECTIONS  Fmi  LACKERING,  JAPANNING, 
AND  VARNISHING  ; 

TO  MAKE   FRENCH  POLISH,    GLUES,   CEMENTS,   AND 
COMPOSITIONS; 

WITH  NUMEROUS  RECEIPTS, 
USEFUL  TO  WORKMEN  GENERALLY. 

.     By  J.  STOKES. 

....     ILLUSTRATED. 


A  NEW    EDITIOX,  WITH   AX  APPENDIX    UPOX   FREXCn   POLISHING, 
STAINING,  IMITATING,  VARNISHING,  ETC.,  ETC.* 


PHILADELPHIA: 
HENRY  CAREY  BAIRD  &  CO., 

Industrial  Publishers,  Booksellkrs,  and  Importers, 

810  WALNUT  STREET. 

1880. 


COLLINS,  PKIMTER. 


THE  QETTY  C=NTER 
I  (BRARY 


COISTTETnTTS. 

INTEODUCTION". 
PART  I. 

ORXAMEXTAL   CABINET   MAKIXG. 

PAGE. 

The  Rudiments  op  Drawing  as  Applicable  to  Articles  op 
Furniture 13 

Primary  Observations  on  Drawing  Ornaments  for  Cabinet 
Work 18 

GEOMETRICAL  and  PERSPECTIVE  TERMS,  DEFINED  AND  EXPLAINED      21 

Geometry 2J 

Perspective. 24 

Tlie  Itailiinents  of  Shadowing 28 

The  Kuiliments  of  Coloring 31 

To  Imitate  Mahogany,  Rosewood 32 

To  imitiite  Satin  Wood,  Bronze,  Brass,  Ormolu,  Velvet, 
Green    Baize,    Glass,     Porphyry    Marble,    Verd- Antique, 

Sienna  Marble.  Mona  Marble 33 

To  Imitate  Black  Marble,  ButT  Color  Drapery,  Wliite  Drap- 
ery, Chintz,  Gilt  Poles,  Crimson  Curtains,  "Painted  Laud- 
scapes  •.. 34 

Ornaments  Used  in  Cabinet  Work— Their  Terms  Explained..    38 

Foliage  Ornament,  Mixed  Ornament 36 

Festooned  Ornament,  Arabesque  Ornament,  Winding  Foli- 
age. Serpentine  or  Running  Ornament,  Plaited  Ornament,    37 
Guilloche  Ornament,  Fret  Ornament,   Mosaic    Ornament, 

Buhl  Ornament 38 

Ornaments  Used  in  Cabinet  and  Upholstering  Work— When 
and  Where  most  Applicable 38 


PART  IL 

VENEERING,  INLAYING,  ETC. 

Of  Veneering 45 

Gluing  and  Veneering  as  Applied  to  Card  and  Other  Table 

Tops,  Secretary  and  Book  Case  Fronts,  etc 46 

To  Raise  old  Veneers 47 

A  Strong  Glue  well  Suited  for  Inlaying  of  Veneering ;  To 

Veneer  Tortoise  Shell ' 48 

Buhl  Work 49 

To  Prepare  Shell  or  Brass  Ready  for  Cutting  Out;  Cutting 

Outtbe  Pattern 50 


111  I 


\,K,K.^% 


IV  CONTENTS. 

PAGK, 

To  Glue  up  the  Patterns 51 

Laving  your  Veneer 52 

Inlaying  willi  Slunled  Wood 53 

To  linilate  Inlayinfj  of  Silver  Strings,  etc 51 

A   Glue   for  Inlaying   Ura.ss  or  Silver  Strings;  To   l^olisli 
Bntss  OrnainenLs  Inlaid  in  \Vood  ;  to  Wasli  Brass  Figures 

Over  with  Silver;  To  Imitate  Tortoise  Sliell  on  Copper 55 


PART  III. 

DYEIXG,  STAINING.  GILDING,  ETC. 

Dtkino  Fine  Black;  Another  Method 58 

Fine  Blue 59 

Anotlier  Blue  ;  a  Fine  Yellow 60 

A  Bright  Yellow,  Liquid  for  Briglitening  and  Setting  Colors  ; 

A  Bright  Green 61 

Another  Green  ;  Bright  lied  ;  Anotlier  Ked 02 

PuriJle;  Anotlier  Purple 03 

Orange  ;  Silver  Grey M 

Another  Grey 65 

Staining 66 

Black  Staining  for  linniediate  Use;  To  Stain  Beach  a  Mahog- 
any Color  ;  Another  Metliod  for  a  Black  Stain 66 

To  Imitiite  Rosewood 67 

To  Imitate  King  or  Botany  Bay  Wood ;  Ited  Stain  for  Bed- 
steads and  Common  Cliairs  ;  to  improve  the  color  of  any 

stain 68 

To  Stain  Horn  in  Imitation  of  Tortoise  Shell ;  to  Stain  Ivory 

or  Bone  Ked 69 

To  Stain  Ivory  or  Bone  Black,  Green,  Blue,  \ellow 70 

To  Stain  Musical  Instruments,  Fine  Crimson,  Purple,  Fine 

Black 71 

Fine  Blue,  Fine  Green,  Bright  Yellow,  to  Stain  Box  Wood 

Brown 72 

Silvering  and  Gilding 73 

The  Kequisites  Necessary  to  be  Provided  with  ;  Size  for  Oil 

Gilding 74 

To  Make  Size  for  Preparing  Frames,  etc. ;  to  Prepare  Frames 

or  Wood  Work 75 

Polishing 76 

Gold  Size,  Another  Gold  Size,  to  Prepare  your  Frames  for 

Gilding 77 

Laying  on  tlie  Gold 78 

J!  u  mi.-- 1  ling 79 

-Malting  or  Dead  (Jold  :  Finishing 80 

To  Make  Shell  (Jold,  Silver  Size,  Silvering 81 

To  Make  Licjuid  Foil  for  Silvering  Glass  Globes,  Bent  Mir- 
rors, etc 82 

Excellent  J{eceipt  to  B\irnish  (;old-size,  to  Gild  Leather  for 

Bordering-doois,  Folding  Scicmmis.  ctct 83 

To  (iilil  the  Bonlers  of  Leather  Toi)S  of  Library  Tables,  etc...  84 

Bionziiig,  to  l5ronz(!  Figures 85 

To  Bronze  on  Wood 86 

To  Bronze  Brass  Figures  for  Ornaments 87 


CONTEXTS.  V 

FAQB. 

PART  IT. 

LACKERING,  JAPANNING,  VARNISHING,  ETC. 

Laokeuing.    To  Lacciuer  Bniss  Work 88 

To  Make  Gold  Lackers  for  Hi-iss 89 

Superior  Lacker  for  Brass  ;  Pale  Gold  Lacker;   Lacker  Willi 

Spirits  of  Turpentine 90 

To  Clean  Old  Brass  Work  foi'  Lackering 91 

Japanning 9i 

A  Black  Japan  ;  To  Imitate  Black  Rosewood 93 

India  Japanning 94 

Grounds  for  Chinese  Japan 95 

To    Make    Black    Japan ;  to    Trace    your  Designs    on    the 

Ground:  to  Raise  Figures  on  Your  Work 9S 

Bronzes  Peculiarly  Adapted  for  India  Japanning  and  Simi- 
lar Purposes  ;  Gold 97 

Copper,  Silver 98 

Tin,  Method  of  Applying  the  Bronze 99 

To  Japan  Work  Boxes,  etc 100 

Ceiling  Wax  Varnish 101 

Varnishing 102 

Cautions  Respecting  the  Making  of  Varnish 103 

General  Directions  in  Choosing  Gums  and  Spirits 101 

To  Varnish  a  Piece  of  Furniture 105 

To  Make  the  Best  White  Hard  Varnish ;  to  Keep  Brushes  in 

Order 108 

Mastic  Varnish  for  Pictures  or  Drawings,  Turpentine  Var- 
nish, Varnishes  for  Violins,  etc.. 107 

To  Varnish  Drawings,  or  any  Kind  of  Paper  or  Card  Work...  108 

Amber  Varnish;  Oil  V^arnish 109 

Copal  Varnisli ;  to  Make  a  Colorless  Copal  Varnish 110 

Turpentine  Copal  Varnish Ill 

A  Varnish  VVHiich  Suits  all  Kinds  of  Prints  and  Pictures:  to 

Make  Appear  in  Gold  tlie  Figures  of  a  Print 112 

Method  of  Preparing  the  Composition   Used   for  Colored 
Drawings  and  Prints,  to  Make  Them  Resemble  Paintings 

in  Oil;  Polishing 113 

To  Polish  Varnish;  the  French  Metliod  of  Polishing 114 

To  Polish  Brass  Ornaments  Inlaid  in  Wood ;  to  Polish  Ivory ; 

to  Polish  Pearl 115 

To  Polish  Marble  ;  To  Polish  Tortoise  Shell  or  Horn 116 

Friction  Varnishing,  or  French  Polishing 117 

The  True  French  Polish 118 

Another  French  Polish 119 

An  Improved  Polish  ;  Water-proof  Polish 1'20 

Bright  Polish;  Prepared  Spirits 1-1 

Strong  Polish; Directions  for  Cleansing  and  Polishing  Old 
Furniture 122 


PART  V. 

GLUES,  CEMENTS,  ETC. 

Cements.    To  Make   Mahogany  Colored  Cement;  Portable 

Glue,  or  Bank  Note  Cement 123 

Cement  for  Turners  ;  a  Cement  for  Broken  Glass 124 

A  Cement  to  Stop  Flaws  or  Cracks  in  Wood  of  any  Color; 
Cements  for  Joining  China,  etc 125 


VI  CONTENTS. 

A  Strong  Glnn  that  will  Rnslst  Moisture. 126 

Another  Glue  lluil  will  Itcsist  Moisture;  Paste  for  Laying 

Cloth  or  Loatlun-on  Table  Toi)s 137 

Miscellaneous  Ueckh'ts.     Glass  Paper 129 

To  Glean  the  Face  of  Soft  Maliogaiiy  or  Other  Porous  Wood  130 

To  Darken  [^ifiht  Mahojjany 131 

To  Cut  ciooil  Steel  Scrapers;  to  Sharpen  and  Set  a  Saw l.ii 

To  'i"ak(!  IJruises  out  of  Furniture i;J3 

To  Make  Anti-attritioii  ;  Polish  for  Turner's  Work 134 

To  Clean  and  Itestore  the  Elasticity  of  Cane  Chair  Bottoms, 
etc. ;  to  Clean  Silver  Furniture;  to  Clean  Marble,  Sienna, 

Jasper,  Porphyry,  or  Scagalio 135 

To  Take  ink  Spots  out  of  Mahogany;  to  Make  Furniture 

Paste ! 136 

To  Make  Furniture  Oil;  Black  Was. 137 

Green  Wax  ;  to  Take  out  Spots  of  Oil  or  Grease  from  Cloth  ; 

to  Make  Parchment  Transparent 138 

To  Take  Out  Wax  Spots  from  Cloth  or  Silk ;  to  Soften  and  to 

lileach  Ivory 139 

To  Solder  or  Weld  Tortoise  Shell  or  Horn  ;  to  Clean  Carpets 
or  Tai)estry ;  to  Make  Composition  Ornaments  for  Picture 

Frames,  etc 140 

To  Clean  Pictures 141 

To  Clean  Pictures  ;  to  Silver  Clock  Faces,  etc. 112 

Varnish  for  Clock  Faces,  etc 143 

Crystallized  Tin ;  to  remler  Plaster  Figures  Very  Durable....  144 

To' Make  Transparent  or  Tracing  Paper 145 

To  Gild  Metal  by  Dissolving  Gold  in  Aqua-regia;  to  Silver 

Ivory 146 

To  Clean  Mirrors,  Ormolu  Ornaments,  etc 147 

A  Green  Paint  <  to  Preserve  Wood  Against  Injurj'  from  Fire  14S 
To  Itemove  Stains  in  Tables;  Hints  in  Melting  and  Using 
Glue ;  to  Renew  a  Polished  Surface ;  to  Clean  oil'  the  Surface 

of  Solid  Work. 149 

To  Clean  Lackered  Work  in  Brass  Furniture;  to  Cast  Orna- 
ments, etc.,  to  liesemble  Wood 150 

.  Cement  Stopping 151 

To  Clean  a   Veneered  Surface;  Grease  or  Dirt  in  French 

Polish  ;  Choice  of  Tools 152 

To  Temper  Saws,  Chisels,  etc 154 


APPENDIX. 

Wood  Staining,  Washing 1.5C 

Matching Vtl 

Improving IJS 

Painting 151) 

Imitations liW 

Directions  for  Staining li>3 

Sizing  and  Embodying 1G4 

Smoothing  107 

Spirit  Varnishing 169 

French  Polishing.  Situations,  Rubbers 171 

Rags,   Wettings,  Rubbings 172 

Directions  for  Repolishing 174 

General  Remarks  and  Useful  Receipts 175 


INTRODUCTION. 


The  very  great  improvement  which  the 
arts  and  manufactures  of  this  country  have 
attained,  within  the  last  fifty  years,  renders 
it  essential  that  every  person  engaged  therein 
should  use  his  utmost  endeavours  to  obtain 
a  perfect  knowledge  of  the  trade  or  art 
which  he  professes  to  follow.  The  work- 
men of  the  last  century  were,  comparatively 
speaking,  with  but  few  exceptions,  mecha- 
nical beings,  who  worked  by  rule,  unguided 
by  any  scientific  principles,  and  followed 
step  by  step  the  beaten  track  of  their  an- 
cestors. The  workmen  of  the  present  day 
have  the   road  of  science   opened  for  them; 


4  IXTRODUCTIOX. 

the  clue  of  knowledge  is  unwound  to  the 
inquiring  mind  ;  but  unless  industry  and 
perseverance  accompany  them  in  the  pursuit 
of  information,  they  will  never  obtain  suffi- 
cient to  justify  a  pretension  even  to  a  me- 
dium knowledge  of  the  principles  of  their 
respective  arts. 

These  remarks  apply  to  scientific  and 
mechanical  professions  generall}^  ;  but  to 
the  cabinet-maker  and  upholsterer  they  at- 
tach with  peculiar  force.  It  is  not  enough 
for  a  person  following  either  of  these 
branches  of  domestic  decoration  to  have 
attained  the  character  of  a  good  worlcman, 
that  being  now  considered  a  mere  negative 
phrase,  imjDlying  only  that  quantum  of 
excellence  which  consists  in  following  im- 
plicitly the  directions  of  others,  or  imitating 
with  neatness  and  accuracy  their  details 
and  plans.  In  a  business  where  change 
and  caprice  rule  with  unbounded  sway,  in 
which    the    fashion    of  to-day  may   become 


INTRODUCTION. 


obsolete  to-morrow,  and  in  which  novelty 
forms  the  greatest  recommendation — an  in- 
ventive genius  and  a  discriminating  judg- 
ment are,  certainly,  essential  qualifications; 
and  if  the  young  workman  ever  feels  the 
least  ambition  to  excel,  or  entertains  a  wish 
to  rise  above  the  bench,  he  will  find  them 
to  be  not  only  essential,  but  actually  indis- 
pensable. 

In  this  business,  as  well  as  in  many 
others,  the  workman  who  understands  the 
principles  of  his  trade,  and  applies  them 
correctly  in  practice,  has  a  decided  advan- 
tage over  his  fellow-workmen  ;  and  if  to 
his  superior  knowledge  he  add  a  steadiness 
of  manner  and  industrious  habits,  his  en- 
deavours cannot  fail  to  secure  approbation, 
while  his  worth  will  be  certainly  and  duly 
appreciated. 

If,  then,  in  order  to  secure  constant  em- 
ployment— the  only  means  of  insuring  com- 
fort to  himself  and  family — it   is  essential 


6  INTRODUCTION. 

that  the  worlcmari  should  excel,  how  much 
more  must  it  behoove  the  person  who  saper- 
iniends  a  business  of  the  kind  to  be  fully 
acquainted  with  every  department  of  the 
business?  for  how  can  any  one  pretend  to 
direct  others  who  is  himself  in  need  of  in- 
formation ?  Nor  is  this  all  ;  it  will  often 
fall  to  his  province  to  sketch  out  new 
designs,  or  to  alter  or  improve  those  in 
present  use.  If  his  emploj'er,  or  a  respect- 
able customer,  should  not  approve  of  the 
fashion  or  ornamental  embelHshment  of 
any  new  article  of  furniture  submitted  to 
their  approbation,  a  superintendent  would 
feel  himself  sadly  at  a  loss,  if  he  could 
neither  sketch  out  the  improvements  or 
alterations  which  his  own  genius  might 
suggest,  nor  inibody  those  pointed  out  by 
others. 

Again ;  the  researches  of  the  chemist  are 
daily  adding  to  a  stock  of  information  valu- 
able to  every  department  of  the    arts   and 


INTRODUCTION.  7 

sciences.  Among  these,  the  cabinet-maker 
and  upholsterer  will  find  many  peculiarly 
serviceable — witness  the  modern  improve- 
ments in  cements,  varnishes,  gilding,  polish- 
ing, and  every  other  part  of  ornamental 
decoration.  The  experience  of  few,  indeed, 
is  sufficiently  extensive  to  enable  them  to 
store  their  minds  with  one-tenth  part  of  the 
information  which  has  been  published  to 
the  world  on  these  heads.  A  work,  there- 
fore, which  contains  the  most  approved  re- 
ceipts, and  from  which  the  workman  will 
be  enabled  to  select  those  applicable  to  his 
purpose,  will  be  appreciated  as  equally  useful 
and  necessary. 

This  work,  a  fifth  time  submitted  to 
the  public  under  the  title  of  "  The  Cabinet- 
maker and  Upholsterer's  Companion,"  is 
intended  as  a  book  of  useful  information 
to  the  apprentice,  a  work  of  real  utility  to 
the  workman,  and  a  manual  of  experimental 
reference  to  the  trade  generally.     It  does  not 


8  INTRODUCTION. 

profess  to  give  difTiisc  instructions  how  to 
make  a  table,  a  cliair,  or  any  similar  article 
of  furniture :  that  would  be  not  only  super- 
jfluous  and  unnecessary,  but  a  vain  attempt. 
Practice  only — and  that  under  good  instruc- 
tion— can  make  a  good  workman  or  a  neat 
finisher.  Our  aim  has  been  to  produce  a 
work  which  shall  give  those  instructions 
which  are  not  always  to  be  met  with  in 
every  one's  practice,  but  which  are  not  the 
less  essential  to  be  known  by  every  work- 
man. 

To  make  our  work  useful,  and  easy  of 
reference,  we  have  adopted  the  popular  plan 
of  dividing  the  subjects  into  distinct  parts, 
and  of  again  subdividing  them  under  their 
proper  heads.  This  will  enable  any  one  to 
trace  out  any  particular  direction  or  receipt 
with  facility,  and  show,  generally  at  one 
view,  all  we  have  to  say  upon  the  subject. 

Part  I.  comprises  the  rudiments  and  prin- 
ciples   of    ornamental    cabinet*making    and 


INTRODUCTION. 


upholstery  generally  ;  and  contains  plain 
and  familiar  instructions,  exemplified  by 
easy  examples,  for  attaining  a  proficiency 
in  the  art  of  drawing,  particularly  that 
department  applicable  to  the  cabinet-maker 
and  upholsterer.  In  this  part,  we  have 
endeavoured  to  lead  the  student,  step  by 
step,  from  first  principles  to  the  more  deter- 
minate forms ;  and,  by  placing  before  his 
view  the  progressive  examples,  to  render 
the  attainment  of  this  useful  art  equally 
speedy  and  certain. 

We  have  not  only  endeavoured,  in  this 
part,  to  practise  the  pupil  in  such  a  familiar 
and  progressive  manner  as  to  render  it  a 
pleasing  recreation,  rather  than  an  abstract 
study  ;  but  we  have  also  laid  down  the 
most  approved  principles  for  the  develop- 
ment and  exercise  of  his  inventive  faculties, 
in  the  practice  of  the  ornamental  depart- 
ment of  his  art,  and  to  lay  before  him  such 
elegant  and  classic  designs,  and  such  modern 


10  INTRODUCTION, 

examples  of  furniture,  as  will  lead  him  in- 
stinctively to  form  a  style  at  once  chaste  and 
ajDpropriate. 

Part  II.  comprises  the  processes  of  ve- 
neering, inlaying,  and  finishing  in  buhl-work 
the  ornamental  decorations  used  in  cabinet- 
work. In  this  part,  such  directions  are 
given  as  experience  has  warranted  to  be 
most  certain  of  properly  and  successfully 
performing  the  embellishment  in  a  neat  and 
complete  manner.  The  materials  best  adapt- 
ed for  the  purpose  are  also  pointed  out,  and 
the  cements  and  glues  most  suited  for  this 
kind  of  work  described. 

Part  III.  comprises  dyeing  and  staining 
woods,  ivory,  bone,  tortoise-shell,  musical 
instruments,  and  all  other  manufactured 
articles  ;  with  the  processes  of  silvering, 
gilding,  and  bronzing.  In  this,  we  have 
laid  down  the  most  approved  directions  for 
the  selection  of  the  wood  or  other  articles 
best  adapted  for  the   required  process ;   the 


INTRODUCTION.  11 

method  of  preparing  it,  and  the  dje  or  stain 
best  calculated  to  give  it  the  desired  colour : 
and  in  the  silvering,  gilding,  and  bronzing, 
nothing  has  been  omitted  which  modern 
improvement  has  added  to  perfect  in  these 
branches  the  highest  style  of  brilliancy. 

Part  IV.  comprises  lackering,  japanning, 
varnishing,  and  polishing  every  article  of 
cabinet  and  upholstery  work ;  and  contains 
all  the  improved  processes  practised  in  each 
of  their  departments,  including  India  japan- 
ning and  the  French  polishing  ;  together 
with  plain  directions  for  making  and  em- 
ploying the  best  and  most  brilliant  lackers, 
japans,  and  varnishes,  according  to  the 
receipts  of  the  most  celebrated  manufac- 
turers. 

Part  V.  contains  glues,  cement,  and  com- 
positions for  filling  up  and  ornamenting  ar- 
ticles of  furniture ;  and  a  considerable  number 
of  miscellaneous  receipts — the  result  of  ex- 
perience, or   selected    from  the  writings  of 


12  INTRODUCTION. 

the  most   approved    authors   and    the   more 
scientific  works. 

Such  is  the  outline  of  its  contents.  As 
to  its  merits,  we  submit  our  opinion  to  the 
test  of  a  discerning  public,  in  the  confident 
expectation  that  the  "  Cabinet-maker  and 
Upholsterer's  Companion"  will  soon  find  a 
place  in  every  factory  and  workshop,  and 
be  the  companion  of  every  intelligent  work 
man. 


THE 

CABmET-MAKER 

AND 

UniOLSTERER'S  COMPANION. 


PART  I. 
©rnamrntal  (JTatinct^iHaking. 

THE  RUDIMENTS  OF  DRAWING,  AS  APPLICABLE  TO  ARTICLES  OP 
FURNITURE PRIMARY  OBSERVATIONS  ON  DRAWING  ORNA- 
MENTS   FOR    CABINET-WORK GEOMETRICAL    AND    PERSPECTIVE 

TERMS  DEFINED  AND  EXPLAINED THE  RUDIMENTS  OF  SHA- 
DOWING AND  OF  COLOURING ORNAMENTS  USED  IN  CABINET- 
WORK ;  THEIR  TERMS  EXPLAINED ORNAMENTAL  DECORA- 
TIONS ;    WHERE  AND   WHEN  MOST  APPLICABLE. 


THE  RUDIMENTS  OF  DRAWING, 

AS   APPLICABLE   TO   ARTICLES    OF   FURNITURE. 

Drawing  is  the  art  of  delineating  on  an  appro- 
priate surface  the  representations  of  subjects  as 
they  appear  to  the  eye  or  are  formed  by  the  in- 
ventive powers  of  a  correct  taste.  It  takes  in  a 
wide  range,  but    the   parts    more  intimately  con- 

2  13 


14  CABINET-MAKER    AND 

nected  with  cabinet-work  are — Geometry  and  Per- 
spective. 

Geometrical  drawing  may  be  defined  to  be  that 
branch  which  delineates  any  given  object  accord- 
ing to  certain  fixed  forms  or  proportions,  and 
represents  the  whole  subject  apportioned  by  a 
given  scale.  Perspective,  on  the  contrary,  repre- 
sents it  in  the  same  manner  as  the  eye  actually 
beholds  the  given  figure,  the  fore  parts  being  most 
conspicuous,  while  those  distant  appear  more  indis- 
tinct, or  rather  as  if  they  receded   from   the  sight. 

The  preparatory  studies  consist  in  various 
modes  of  delineating  the  outline  by  light  and 
dark  strokes ;  the  more  mature  operations  of  the 
art  are — shadowing  and  colouring. 

Drawing  of  this  description  may  be  divided 
into  outline  and  shading  ;  the  outline,  or  contour, 
represents  the  boundaries  of  an  object,  as  they 
appear  to  terminate  against  the  background,  and 
is  a  section  of  the  whole  mass.  Outlines  aro 
also  used  for  the  circumscription  of  all  the  parts 
of  an  object,  interior  as  well  as  exterior ;  while 
shading,  with  a  softer  pencil,  expresses  the  pro- 
jections, cavities,  or  flatness  which  form  its  ante- 
rior features. 


upholsterer's  companion,  16 

A  correct  outline  of  the  objects  of  a  picture  is 
of  the  highest  importance,  and  certainly  the  best 
test  of  an  intelligent  draughtsman  ;  as,  in  most 
cases,  it  conveys  the  general  character  of  the 
object  without  the  aid  of  shading,  and  is  there- 
fore, as  far  as  it  goes,  a  complete  drawing  in 
itself.  The  aim  of  the  student,  therefore,  should 
be  to  acquire  the  power  of  copying  faithfully  what- 
ever may  present  itself  before  him. 

For  the  first  essay,  no  material  is  better  than  a 
soft  pencil ;  the  drawing  to  be  sketched  on  white 
paper,  and  the  pencil  to  be  held  somewhat  in  the 
same  manner  as  a  pen,  but  so  as  to  allow  of  more 
freedom  of  action,  and  to  give  a  greater  facility 
of  motion  both  to  the  fingers  and  the  wrist.  The 
learner  should  begin  with  making  lines  parallel, 
straight,  and  curved  in  all  directions,  and  then 
exercise  himself  in  tracing  geometrical  figures, 
into  some  of  which  all  forms  may  be  resolved ; 
but  without,  as  yet,  the  aid  of  either  rule  or  com- 
pass. He  should  also  copy  occasionally  from  broad 
specimens  of  ornament,  as  being  well  adapted  to 
give  firmness  and  flexibility  to  the  hand  ;  to  in- 
crease which  they  should  be  practised  upon  as 
large    a    scale    as    convenient.      He   may   also,   at 


16  CABINET  MAKER    AND 

intervals,  study  from   the  best   drawings,  or  from 
open  chalk  prints. 

Whatever  be  the  object  to  be  dravrn,  its  general 
form  should  be  first  sketched  out  very  slightly,  that 
any  fault  may  be  the  more  easily  removed.  Esti- 
mate, as  nearly  as  you  can,  the  distances  of  par- 
ticular points  in  the  original  figure  ;  make  dots  at 
similar  distances  on  your  paper ;  then  draw  your 
lines  carefully  to  those  dots,  beginning  at  the  upper 
part,  and  working  downward,  either  from  right  to 
left,  or  from  left  to  right,  according  to  the  tendency 
of  the  parts.  Draw  the  principal  divisions  first ; 
when  these  appear  right,  mark  in  the  smaller  parts, 
and  when  the  whole  is  pencilled  out,  examine  it  scru- 
pulously; then  pass  over  it  with  a  piece  of  bread,  to 
render  the  lines  nearly  invisible,  and  revise  and  re- 
touch them  again  and  again,  till  the  sketch  be  cor- 
rect. After  this,  go  over  the  whole  with  a  harder 
pencil ;  or  the  lines  may  be  put  in  ink  with  a  sable 
brush,  first  comparing  all  the  parts  with  the  original, 
both  perpendicularly  and  horizontally,  that  they 
may  have  the  same  comparative  inclination,  range, 
and  distance  as  the  object  itself.  Where  the  student 
is  at  a  loss,  he  may  now  sparingly  use  the  compass 
or  sector,  but  only  by  way  of  proving  the  angles 


upholsterer's  companion.  17 

after  he  has  done  his  utmost,  for  unless  these  in- 
struments be  more  used  in  the  eye  than  in  the  hand 
of  the  learner,  he  will  never  make  a  good  draughts- 
man, or  be  able  to  judge  of  distance  in  any  other 
way  than  by  rule.  Perhaps  it  would  be  best  for 
'earners  to  make  their  first  lessons  as  near  the  size 
■)f  the  originals  as  possible  ;  and,  when  the  eye 
;an  measure  with  tolerable  exactness,  to  vary  from 
rtiese  dimensions  will  be  proper ;  the  pupil  will 
then  acquire  an  aptness  of  preserving  similar  pro- 
portions on  a  different  scale,  which  forms  so  essen- 
tial a  part  of  the  draughtsman's  skill,  and  is  so 
indispensable  in  imitating  objects  or  drawings.  It 
is  not  necessary  that  the  lines  in  a  drawing  should 
be  of  one  uniform  thickness ;  on  the  contrary,  a 
delicate  variety,  with  the  lines  occasionally  broken, 
gives  a  richness,  and  adds  much  to  the  effect.  The 
lines  may  also  be  carried  a  little  within  the  contour 
of  the  hollows,  as  if  pursuing  the  inflection  on  the 
part,  which,  when  done  with  skill,  makes  a  mere 
outline  very  characteristic. 

These  remarks  apply  to  drawing  generally  ;  we 
shall  now  give  a  few  primary  observations  regard 
ing  the  principles  of  the  art,  as  applied  to  cabinet 
and  upholstery  work. 

2* 


18  CABINET-MAKER    AND 

PRIMARY  OBSERVATIONS 

ON   DRAWING   ORNAMENTS 

FOR    CABINET-WORK. 

It  will  be  to  little  purpose  that  the  young  work- 
man should  possess  a  correct  discrimination  in  the 
choice  of  the  most  appropriate  ornaments,  if  he 
have  not  some  knowledge  of  drawing;  for  without 
he  can  delineate  the  embellishment  in  outline,  he 
will  never  be  enabled  to  execute  it  in  wood.  For 
this  purpose,  his  first  acquirement  must  be  to  trace 
an  object  by  the  eye,  in  all  its  relative  proportions 
and  inclinations,  with  a  just  boldness  and  freedom 
of  hand.  To  facilitate  this,  his  best  way  will  be  to 
begin  by  drawing  the  most  simple  forms,  as  straight 
lines,  and  proceed  gradually  to  the  more  complex 
objects  ;  but  whatever  subject  be  his  first  essay,  he 
must  place  it  perpendicularly  and  directly  before 
him,  otherwise  he  will  never  produce  a  correct 
drawing.  He  must  also  bear  in  mind,  while  he  is 
copying,  what  are  the  details  of  the  object,  as  well 
as  what  is  merely  before  him  ;  otherwise  he  will 
iievcr  learn  to  delineate  with  correctness 


Lesson  1. 


TlcU£  1. 


Simple  Lines  A-  Farms. 


XessoJiU. 


:PlateZ. 


Sunjile  t£   Cantpawrul  JLines  &  Torms. 


upholsterer's  COM!  anion.  19 

From  straight  lines,  he  should  next  proceed  to 
curved  and  spiral  ones  of  different  descriptions, 
branching  off  to  the  right  hand  and  to  the  left. 
In  this  he  must  be  particular,  although  he  will  at 
first  find  it  somewhat  diflficult  to  make  his  sides 
correspond. 

After  drawing  lines  in  all  the  various  directions 
his  fancy  can  dictate,  he  will  acquire  a  command 
of  hand,  and  a  ready  facility  of  delineating  in 
every  possible  position. 

The  best  method  of  learning,  generally,  is  for 
the  pupil  to  draw  a  few  simple  parallel  lines,  and 
after  this  to  copy  curved  lines,  and  then  to  multiply 
them  to  the  number  of  ten  or  more ;  these  being 
done,  he  may  try  leaves  and  scrolls ;  and  lastly, 
the  whole  ramifications  of  foliage. 

We  will  illustrate  this  part  of  our  introductory 
instruction  with  several  lessons,  by  way  of  exam- 
ples.— See  Plates  2  and  3. 

Plate  2,  Lesson  1.  Various  simple  lines,  for  the 
pupil's  first  practice. 

Plate  3,  Lesson  2.  Simple  and  compound  lines 
and  forms,  with  a  figure  (10)  in  outline,  half  shade 
and  full  shade. 

These  preliminary  lessons  should  be  well  practised 


20  CABINET-MAKER   AND  ^ 

before  the  pupil  proceeds  further  onwards ;  for,  how- 
ever simple  they  may  seem,  they  are  as  necessary 
and  important  a  part  of  drawing  as  the  foundation- 
stone  is  to  the  building :  they  are,  indeed,  the  very 
laws  of  the  art ;  and  it  is  by  a  tasteful  combination 
of  these  forms,  that  the  most  correct  pictures  and 
the  most  accurate  delineations  are  produced. 

Having  practised  thus  far,  the  student  may  next 
attempt  the  combinations,  or  compound  forms, — 
as  terminal  ornaments,  vases,  pedestals,  columns, 
leaves,  scrolls,  and  similar  embellishments.  Of 
these  we  shall  give  a  few  lessons,  but  which,  in  the 
hand  of  a  judicious  student,  will  be  amply  suffi- 
cient.— See  Plates  4  and  5. 

Plate  4,  Lesson  3.  Various  compound  ornaments 
and  scrolls,  in  outline  and  shade,  peculiarly  suitable 
for  cabinet-work,  and  well  adapted  as  practical  les- 
sons to  the  pupil. 

Plate  5,  Lesson  4.  Compound  ornaments  con- 
tinued. 

When  the  student  has  copied  these  over  several 
times,  and  attained  sufficient  practice  in  copying 
from  drawings  with  precision,  and  can  measure 
distances  with  the  eye,  and  delineate  them  with  a 
free  hand,  he   should  then  try  at   drawing   from 


l.pssoalll. 


Tlalc.  3. 


-^^  (3^- 


f'lJrtil/fi/tnii   Pruffnyi/s  r/i  line  d  Shae^ 


lesson  I\ . 


ruuA  4--. 


( t>riitjoi/nrf  f^mfi>/ir//ts  rri  //itr  I'i'  Shudf 


upholsterer's  companion.  21 

plaster-casts  ;  after  which  he  may  practise  from  the 
vegetable  creation  such  plants  and  flowers  as  are 
best  calculated  for  his  future  purpose.  By  proceed- 
ing thus,  he  will  soon  become  proficient ;  he  may 
therefore  now  try  the  fertility  of  his  own  powers, 
by  applying  himself  to  the  composing  of  ornaments, 
which  will  rarely  fail  to  appear  graceful,  rich,  and 
natural. 

In  designing  ornaments,  the  pupil  must  picture 
the  whole  subject  in  his  imagination,  as  though 
drawn  on  the  paper  before  him  ;  he  should  then, 
with  a  black-lead  pencil,  mark  it  out  faintly  in 
lightly-sketched  lines,  which,  having  completed,  he 
may  lower  the  whole  with  crumbs  of  bread,  and 
lastly,  retrace  it  more  correctly.  The  ornament 
may  now  be  inked  with  a  pen,  or  with  a  fine  sable- 
hair  brush,  or  worked  up  in  pencil,  as  the  artist 
may  consider  best. 

GEOMETRICAL  AND  PERSPECTIVE  TERMS 

DEFINED    AND    EXPLAINED. 

We  have  said  that  the  parts  of  draAving  more 
intimately  connected  with  our  subject,  are  Geometry 
and  Perspective.  It  will  therefore  be  necessary 
that  the  terms  in  common  use  be  defined,  as,  with- 


22  CABINET-MAKER    AXD 

out  a  knowledge  of  them,  it  will  be  almost  impossi* 
ble  to  understand  many  of  the  directions  essential 
to  the  cabinet-maker  or  upholsterer. 

GEOMETRY. 

Extension  is  a  term  applied  to  any  expanded 
surface,  proceeding  in  any  or  every  direction. 

3Iagnitude  is  a  solid  bulk,  having  length,  breadth, 
and  thickness. 

A  figure  is  any  bounded  space.  When  formed 
of  a  plain  surface,  it  is  termed  a  plain  figure. 

A  superficial  figure  has  length  and  breadth  only. 

A  solid  figure  has  length,  breadth,  and  thickness. 

Surfaces  are  the  extremities  of  solids. 

Lines  are  the  confines  of  surfaces. 

Points  are  the  terminations  or  intersections  of 
lines. 

Angles  are  the  concentration  or  conjunction  of  t'.vo 
inclined  lines,  and  are  either  right,  acute,  or  obtuse. 

A  curve  is  that  kind  of  line  from  which,  if  two 
points  be  taken,  the  intersected  point  is  not  straight. 

A  quadrangle  is  a  plain,  square  figure,  bounded 
by  four  right  lines. 

A  parallelogram  is  an  oblong  quadrangle,  the 
opposite  sides  of  which  are  perfectly  parallel. 


upholsteker's  companion.  23 

A  quadrilateral  is  a  quadrangle  formed  bj  four 
equal  lines. 

A  rJiombus  is  a  quadrangle,  having  its  sides 
equal,  and  its  angles  two  equally  obtuse,  and  two 
equally  acute. 

A  rhomboid  is  an  oblique-angled  parallelogram, 
"whose  opposite  sides  and  angles  are  equal  to  each 
other. 

A  trapezium  is  a  figure  with  none  of  its  sides 
parallel. 

A  trapezoid  hath  two,  only,  of  its  opposite  sides 
parallel. 

All  plain  figures,  having  more  than  four  sides, 
are  termed  polygons,  and  are  named  from  the 
number  of  sides  they  contain :  five  sides,  a  penta- 
gon; six,  a  hexagon ;  seven,  a  heptagon;  eight,  an 
octagon,  &c. 

A  circle  is  formed  by  a  uniform  curved  line,  called 
its  circumference,  which  curve  is  in  every  part 
equally  distant  from- the  point  termed  its  centre. 

A  triangle  is  a  figure  having  three  sides. 

A  semicircle  is  half  a  circle. 

A  segment  of  a  circle  is  more  or  less  than  half  of 
a  circle. 

The  diameter  of  a  circle  is  a  straight  line  drawn 


24  CABINET-MAKER    AND 

through  the  centre,  each  end  joining  to  the  circum* 
fcrence. 

A  chord  is  a  right  line  drawn  within  a  circle,  its 
ends  both  joining  the  extremities  of  the  arc. 

The  radius  of  a  circle  is  a  right  line  drawn  from 
the  centre  to  the  circumference. 

The  construction  or  formation  of  most  of  these 
geometrical  figures  or  parts  are  so  self-evident,  from 
their  definition,  that  we  need  not  give  any  delinea- 
tion of  their  figure,  but  leave  them  for  the  student's 
exercise ;  in  which,  indeed,  he  can  scarcely  fail  of 
correctness.     We  shall  therefore  now  proceed  to 

PERSPECTIVE. 
If  the  student  hold  up,  at  arm's-length,  a  pic- 
ture-frame in  which  is  a  square  or  oblong  piece 
of  glass  washed  over  with  whitehard  varnish,  but 
perfectly  dry,  he  will  be  enabled  to  delineate  with 
a  pencil  the  visible  lineaments  or  outline  appear- 
ance of  the  object  as  seen  within  the  compass  of 
the  frame ;  which  result  will  be  the  lineal  picture, 
the  glass  being  considered  the  paper  on  which  the 
object  is  to  be  drawn.  The  true  relative  propor- 
tions of  perspective  will  be  here  laid  down ;  and 
if,  after  the  design  is  sketched  out,  the  whole  is 


UPHOLSTERER  S    COMPANION.  Zb 

proportioned  by  a  scale,  it  will  greatly  facilitate  the 
student,  particularly  if  he  should  afterward  wish  to 
enlarge  or  decrease  the  size  of  his  object.  In  this 
case,  a  border  may  be  drawn  at  equal  or  certain  dis- 
tances from  the  extremities  of  every  part ;  and  the 
whole  space,  both  in  breadth  and  depth,  be  appor- 
tioned into  equal  divisions,  and  marked  by  pencil 
lines  intersecting  the  whole  and  each  other;  and  if  on 
a  larger  or  smaller  paper,  the  same  number  of  divi- 
sions be  made,  the  student  will  have  a  guide  which 
will  hardly  allow  him  to  err  in  preserving  the  due 
and  relative  proportions  in  the  copy  as  existed  in  the 
original.  To  illustrate  this,  see  plate  1,  diag.  1 .  The 
spectator  is  viewing  the  appearance  which  two  pieces 
of  furniture  will  have  at  a  distance  ;  when  seen 
through  a  similar  medium  to  the  one  just  named, 
the  result  will  be  the  sam«,  and  prove  this  position 
in  perspective  to  be  correct,  viz.  that  all  subjects 
situated  on  a  level  floor,  diminish,  and  seem  to 
advance  up  or  ascend  the  picture,  in  the  same  pro- 
portion as  they  recede  from  the  sight,  while  these 
suspended  from  or  on  a  level  ceiling,  have  the 
appearance  of  descending,  or  seeming  lower  in  the 
picture,  in  the  same  proportion,  according  to  their 
distance  from  the  eye  of  the  spectator. 


26  CABINET-MAKER    AND 

Diagram  2  will  show  the  terms  made  use  of;  for 
example,  the  figure  represents  a  hall  which  is  thrown 
into  perspective  ;  in  this  case  A  B  are  the  base  lines, 
C  D  the  points  of  view,  or  distance:  the  line  which  is 
drawn  from  the  one  to  the  other  is  the  horizontal  line, 
and  E  is  the  point  of  sight.  We  have  divided  the 
base  line  into  six  equal  parts,  to  show  the  dimension 
of  each  square  (for  we  will  suppose  the  hall  to  be 
paved) ;  from  each  of  these  divisions  draw  lines  to 
the  point  of  sight,  E  :  then  draw  diagonal  lines  from 
the  extremities  of  your  base  line  to  the  points  of 
view,  and  where  the  visual  lines  are  cut  by  the  dia- 
gonal ones,  draw  parallel  lines,  and  the  diminution 
of  each  square  will  be  given  correctly.  It  will  be 
easily  seen  we  have  determined  the  width  of  the 
door  at  two  squares  on  the  base,  which,  carried  to 
the  point  of  distance,  intersect  the  side  wall,  and 
give  the  width  against  it ;  the  thickness  is  likewise 
carried  out  on  the  base  line,  and  carried  to  the 
points  of  sight  E,  and  gives  the  depth  of  the  door. 
Thus,  by  practising  a  few  similar  plans,  the  first 
rudiments  of  the  art  will  be  easily  understood,  and 
found  both  useful  and  amusing. 

The  following  are  the  most  common,  and  at  the  same 
time  the  most  essential,  terms  used  in  perspective. 


upholsterer's  companion.  27 

The  point  of  view  is  the  optic  angle  of  the  visual 
rays,  or  point  where  the  rays  from  the  picture  or 
object  concentrate ;  and  where  the  spectator  is  sup- 
posed to  stand  while  drawing  the  object — it  is  con- 
sequently out  of  the  picture,  but  is  the  point  or 
distance  from  which  only  will  the  picture  or  object 
appear  natural. 

The  point  of  sight,  or  more  properly  the  seat  of 
the  eye,  is  a  point  in  the  picture  directly  opposite 
the  eye,  and  is  produced  by  a  line  drawn  at  right 
angles  to  the  picture. 

The  horizontal  line  is  a  line  passing  before,  and 
of  the  exact  height  of  the  eye  of  the  spectator. 

The  primitive  object  is  the  figure  given  to  be 
delineated. 

'  Primitive  measures  are  the  real  measures  of  the  ob- 
ject reduced  to  a  scale,  which  by  being  thrown  ob- 
liquely into  perspective,  will  be  seen  foreshortened. 

The  base  plane  is  the  floor  or  part  on  which  the 
object  is  supposed  to  be  situated. 

The  base  line,  or  entering  line,  is  that  on  which 
the  transparent  plane  is  supposed  to  be  placed. 

The  vanishing  points  are  those  in  itie  horizontal 
line  to  which  all  the  oblique  points  concentrate  or 
meet. 


28  CABINET-MAKER    AND 

Inclined  vanisJiing  points  are  ascertained  by 
perpendicular  lines  raised  from  the  extreme  vanish- 
ing point  in  the  horizontal  line  ;  and  are  essential 
for  pediments  and  swing-glasses. 

The  diagonal  vanishing  point  is  a  point  set  off 
upon  the  horizontal  line  either  way  from  the  seat  of 
the  eye;  and  in  the  same  proportionate  measure  as 
the  draughtsman  is  supposed  to  stand  distant  from 
the  picture,  or  object. 

THE  RUDIMENTS  OF  SHADOWING. 

When  the  objects  are  correctly  drawn  in  outline, 
the  learner  should  proceed  with  shadowing,  first 
laying  on  the  dark  broad  washes,  then  the  next  in 
strength,  and  lastly  the  more  delicate  half-tints.  In 
finishing,  great  attention  must  be  paid  to  the  quan- 
tities and  combinations  of  light,  middle  tint,  shadow, 
and  reflection  :  in  this,  the  young  student  will  find 
some  difficulty  in  distinguishing  the  delicate  grada- 
tions of  light  and  shade ;  but  observation  and  practice 
will  soon  teach  him.  We  may,  however,  remark,  that 
he  must  reserve  his  greatest  strength  of  light  and 
shade  for  the  parts  most  prominent,  and  every  light 
must  be  accompanied  and  supported  by  its  shade;  the 


upholsterer's  companion.  29 

middle  tint  becomes  deeper  in  tone  as  it  advances 
from  the  light,  till  it  is  lost  in  the  shadow,  and  the 
outline  is  softened  into  the  background,  by  reflections 
from  the  surrounding  objects ;  the  contour,  therefore, 
must  not  be  too  strongly  marked ;  or  the  extreme 
parts,  which  should  retire,  will  come  forward. 

Shadows  are  made  out  by  washing  or  tinting  the 
drawing  with  India  ink,  which  should  never  be 
mixed  up  for  use  a  second  time,  after  having  once 
dried  in  the  saucer,  or  it  will  work  muddy.  A 
neutral  tint,  made  with  Venetian  red  and  indigo,  or 
lamp-black,  burnt  terra  de  sienna,  and  lake,  varied 
as  circumstances  and  distance  may  require,  may 
also  be  used  for  this  purpose. 

Shading  may  be  performed  on  columns  or  other 
convex  bodies  in  two  diff"erent  ways :  the  first  is, 
that  of  laying  on  the  shades,  as  nearly  in  their 
places  as  possible,  with  a  tint  very  nearly  dark 
enough,  then  softening  off  the  edges  with  a  clean 
brush  with  water,  and,  when  dry,  repeating  the 
process  several  times,  until  suflSciently  lightened  : 
the  other  is,  by  working  with  tints  rather  lightei 
than  are  requisite,  at  first  laid  in  spots  near  each 
other,  and  then  blended  by  a  faint  wash  over  the 
whole,  and  when  nearly  dry,  strengthen  by  other 

3* 


30  CABINET-MAKER    AND 

spots  in  the  interstices,  and  so  on,  gradually  giving 
the  shades  their  due  force  and  form,  leaving  the 
paper  for  the  lights.  This  mode  is  called  stippling, 
and  in  the  hands  of  a  master,  is  the  best,  or  at 
least  the  boldest,  for  finished  drawings ;  for  it  not 
only  occasions  the  whole  picture  to  sparkle,  but 
gives  a  transparency  and  play  to  the  shadows, 
making,  as  it  were,  darkness  visible.  It  is,  how- 
ever, of  little  importance  which  of  these,  or  any 
other  plan  of  shading,  be  adopted,  so  that  the 
faithfulness  of  the  imitation  be  well  attended  to. 

In  the  representations  of  shadows,  the  artist 
should  be  careful  not  to  make  them  too  hard  or 
abrupt  at  the  edges,  because  every  shadow  ter- 
minates by  the  faint  and  indistinct  transition 
from  the  obscure  to  the  illuminated  part  of  the 
surface  upon  which  such  shadows  are  cast.  Nor 
should  shadows  be  equally  dark ;  for  it  is  to  be 
remembered  that  shadows  projected  by  the  sun 
are  softened  by  the  surrounding  rays  and  by  the 
general  diffusion  of  light  through  the  atmosphere ; 
they  should,  therefore,  be  darkest  near  the  object 
that  produces  them.  It  is  on  this  principle  that 
shadows  from  the  light  of  a  candle  are  darker 
than  those  of  the  sun ;  although  the  light  is  much 


upholsterer's  companion.  31 

more  forcible  from  the  latter  body :  hence  it  follows, 
that  shadows  in  candlelight  scenes  must,  in  the  lan- 
guage of  painting,  be  heavier  in  their  representa- 
tion, or  less  transparent  than  those  of  daylight. 

For  examples  of  shadowing,  see  fig.  10,  plate  3. 
and  plates  4  and  5. 

THE  RUDHIENTS  OF  COLOURING. 

A  JUDICIOUS  writer  has  observed,  that  "should 
the  most  skilful  master  draw  a  rose  or  grape 
with  the  pencil  only,  his  observers  would  have 
but  a  faint  or  imperfect  image  of  the  object ;  but 
let  him  add  to  each  its  proper  colours,  and  we  no 
longer  doubt — we  smell  the  rose,  we  touch  the 
grape."  Colouring  may,  therefore,  be  considered 
as  the  life  and  soul  of  a  picture  :  it  is  the  third 
and  last  component — that  of  giving  to  objects  their 
proper  hue  and  colour,  as  they  appear  under  all 
the  combinations  of  light,  middle  tint,  and  shadow; 
and  also  of  blending  and  contrasting  them,  so  as 
to  make  each  appear  with  the  greatest  brilliancy 
and  advantage. 

Colouring  may  be  divided  into  two  kinds :  that 
which  is  necessary  for  rendering  the  imitation  just 
and   natural ;    and  that  which  is   fascinating,   and 


32  CABINET-MAKER    AND 

renders  the  work  more  impressive  on  the  imagina- 
tion, more  delightful  to  the  eye.  Truth  alone,  in 
the  local  tints,  is  required  in  the  first ;  the  second 
demands  choice  in  their  selection,  for  the  eye  has 
the  same  intuitive  abhorrence  of  inharmonious  com- 
binations of  colour,  that  the  ear  has  to  discordant 
sounds.  To  possess  a  scientific  knowledge  of  the 
arrangement  of  colours,  so  as  to  produce  eflfects 
not  unnatural,  requires  but  little  talent ;  but  to  per- 
form all  that  a  skilful  combination  and  application 
of  the  various  powers  of  colours  can  efi"ect,  is  not 
80  easily  attained. 

As,  however,  the  student  may  by  this  time  have 
attained  a  sufficient  knowledge  of  drawing  to  be 
able  to  portray  any  object  he  sees,  his  fancy  may 
invent,  or  his  employer  suggest,  he  will  now  only 
require  a  few  hints  as  to  the  colours  that  may  be 
compounded  with  the  best  efi'ect  for  imitating,  in 
drawings,  the  different  woods,  metals,  cloths,  &c., 
used  in  the  various  articles  of  cabinet-furniture, 
stating  the  principal  colours  first. 

To  imitate  mahogany. — Mix  light  red  with  burnt 
umber  ;  shadow  with  burnt  umber. 

Rosewood. — Mix  lake  and  lampblack ;  shadow 
with  a  stronger  tint  of  the  same  while  wet. 


UPHOLSTEKEK'S    COiMPANION.  33 

Satin-wood. — Use  j'ellow  ochre  ;  shadow  with 
Vandyke  brown. 

Bronze. — Mix  Prussian  blue,  gamboge,  and  burnt 
umber ;  shadow  with  Vandyke  brown  and  indigo, 
mixed. 

Brass. — Use  gamboge  ;  shadow  with  burnt  terra 
de  sienna,  and  stipple  with  burnt  umber.  Inlaid 
brass  or  hulil  ornaments  may  be  laid  on  after- 
wards Avith  a  body-colour  made  of  gamboge  and 
whiting. 

Ormolu. — Mix  king's  yellow  and  Indian  yellow. 

Velvet. — Mix  carmine  and  Indian  red. 

Green-baize. — Mix  indigo  and  gamboge.  For 
chair-seats,  use  vermilion. 

Glass. — Mix  lampblack  and  indigo  ;  shadow  with 
the  same. 

Porphyry  marble. — Mix  lake,  Venetian  red,  and 
ivory-black;  afterward  speckle  with  constant-white 
and  with  lampblack. 

Verd-antique. — Mix  indigo  and  Roman  ochre ; 
afterward  lay  on  light  and  dark-green  spots. 

Sienna  marble. — Mix  raw  terra  de  sienna  and 
burnt  umber ;  vein  it  with  burnt  umber  alone. 

Mona  marble. — Mix  indigo,  Venetian  red,  and 
lake  ;  vein  with  dark  green. 


34  CABINET-MAKER    AND 

Black  marble. — Mix  indigo  and  madder-brown 
with  lampblack. 

Buff-colour  drapery. — Mix  gamboge  and  Rorflan 
ochre,  or  gamboge  and  a  little  lake ;  shadow  with 
the  same,  darker.  For  the  more  intense  shadows, 
mix  gamboge  and  burnt  umber. 

White  drapery. — Shade  with  a  mixture  of  India 
ink  and  indigo. 

Chintz. — Shadow  with  a  mixture  of  lake  and 
gamboge. 

Crimson  curtains. — Colour  with  red  lead  and  a 
little  lake. 

Gilt  poles. — Colour  as  for  ormolu^  and  shadow 
with  burnt  umber  and  gamboge  combined,  or  with 
burnt  umber  and  lake,  and  sometimes  with  a  mix- 
ture of  lakje  and  gamboge. 

There  is  scarcely  an  artist  but  who  compounds 
colours  each  in  a  manner  peculiar  to  himself.  Now, 
as  landscapes  are  sometimes  seen  through  the  aper- 
tures of  windows,  when  a  view  of  the  room  is  taken, 
some  instruction  is  necessary  in  this  department  of 
the  art.  We  shall,  therefore,  state  what  is  con- 
sidered to  be  the  best  and  simplest  process. 

After  the  view  is  pencilled  out,  begin  the  sky ; 
for  this,   use   a  mixture    of   Prussian  blue   and  a 


upholsterer's  companion.  35 

little  lake  ;  begin  at  the  top  of  the  picture,  and 
soften  it  downwards,  but  at  the  horizon  add  a 
little  Venetian  red.  The  clouds  are  next  to  be 
workel  in,  with  a  mixture  of  Venetian  red,  indigo, 
and  a  little  gamboge ;  next,  with  the  sky-colour 
and  a  little  Venetian  red  added,  cover  the  whole 
of  the  ground,  beginning  at  the  front,  and  thin- 
ning  it  towards  the  horizon ;  but  observe  not  to  go 
over  the  rivers,  or  pieces  of  water.  Distant  moun' 
tains  are  coloured  with  indigo  and  lake ;  near, 
fuseus  mountains,  with  indigo,  lake,  and  burnt 
terra  de  sienna  ;  distant  parts  of  the  grass  are  made 
with  indigo,  yellow-ochre,  and  lake ;  near  grass  is 
made  with  burnt  sienna,  Italian  pink,  and  indigo ; 
dark  touches  on  the  foreground  are  of  Vandyke 
brown,  indigo,  and  burnt  terra  de  sienna ;  intense 
dark  touches,  of  lampblack  and  burnt  umber ; 
distant  trees  are  worked  with  indigo,  lake,  and 
gamboge,  shadowed  with  the  same  colour,  made 
darker ;  and  near  trees  are  coloured  with  burnt 
sienna,  gamboge,  and  indigo,  deepened  towards  the 
shadowed  side.  This  is  all  that  is  required  to  be 
known  in  this  branch  of  the  art ;  and  is  a  complete 
and  valuable,  though  concise,  process  for  painting 
jabinet-furniture,  landscapes,  &c. 


86  CABINET-MAKER    AND 

ORNAMENTS  USED  IN  CABINET-WORK: 

THEIR    TERMS    EXPLAINED. 

Ornaments  are  the  decorative  parts  of  an  edifice, 
household  furniture,  or  other  objects,  studied  from 
the  vegetable  and  animal  kingdoms,  gracefully  and 
artificially  combined.  They  are  seldom  of  import- 
ance on  the  exteriors  of  buildings — simplicity  and 
variety  in  the  contour,  with  bold,  massive  forms, 
being  there  primarily  considered,  and  on  which  their 
grandeur  chiefly  depends.  It  is  in  the  interior  that 
ornaments  should  be. principally  applied,  when  they 
are  not  liable  to  be  destroyed  by  the  weather,  and  are 
likewise  brought  nearer  to  the  eye  of  the  beholder. 

Foliage  ornament  is  composed  of  leaves  only ; 
the  subdivisions  of  a  leaf  are  called  raffles,  and  the 
small,  external  divisions,  plants;  the  terminations 
of  the  plants  are  called  eyes,  and  the  longer  reeds, 
proceeding  from  the  eyes,  are  called  pipes.  The 
leaves  chiefly  used  are  the  acanthus,  olive,  palm, 
parsley,  vine,  ivy,  oak,  thistle,  laurel,  lotus,  and 
water-leaf;  the  flowers  most  in  use  are  the  honey- 
Buckle,  lotus,  lily,  rose,  and  jasmine. 

Mixed  onia/iu'Ht  is  a  composition  of  leaves,  fruit. 


upholsterer's  companion.  87 

flowers,  and  scrolls,  combined  in  any  way  with  each 
other. 

Festooned  ornament  is  comprised  of  fruit,  flowers, 
and  leaves,  intermixed  with  each  other,  and  sup- 
ported at  the  two  extremities  with  ribbons,  some- 
times suspended  from  a  bull's  horns,  the  middle 
part  formed  into  a  parabolic  curve  by  its  gravity. 

Arabesque  ornament  is  a  mixture  of  slender 
scrolls,  leaves,  vases,  birds,  lyres,  and  representa- 
tions .of  human  figures. 

Winding  foliage  has  a  principal  plant  from  which 
issues  a  stem  in  the  form  of  a  serpentine  line,  with 
a  number  of  branches  spreading  out  on  each  side 
of  all  the  convex  parts  of  the  alternate  sides,  and 
twisting  themselves  in  the  form  of  spiral  lines; 
and  those  spirals  and  stalks  are  decorated  with 
foliage  and  flowerets. 

Serpentined,  or  running  ornament  has  a  trunk, 
from  which  springs  a  stem  continually  changing 
its  course  in  opposite  directions,  that  is,  first  con- 
cave, then  convex,  and  so  on  alternately  to  any 
multipled  number  of  curves  of  contrary  natures , 
from  the  concave  and  convex  parts  shoot  branches, 
each  terminating  with  a  rose. 

Plaited  ornament  is  a   definite   number   of  ser- 


38  CABINET-MAKER   AND 

pentine  lines,  interwoven  mth  each  other  ;  and 
exclusively  in  the  cap  of  the  Grecian  Ionic  order. 

Guilloche  ornament  is  a  succession  of  circles 
entwining  each  other. 

Fret  ornament  is  formed  of  straight  lines  Jike  the 
wards  of  a  key ;  used  much  by  the  Etruscans  on 
their  vases. 

Mosaic  ornament  is  a  cemented  inlay  of  marbles, 
glass,  shells,  and  rich  varied  stones ;  used  in  pave- 
ments, and  on  tops  of  tables. 

Buld  ornament  is  an  insertion  of  brass,  and 
sometimes  of  wood,  formed  into  foliages,  flowers, 
animals,  &c.  * 

ORNAMENTS   USED   IN   CABINET   AND 
UPHOLSTERY  WORK: 

"WHEN    AND    AVIIERE    MOST    APPLICABLE. 

The  ornamental,  or  decorative  parts  of  furniture 
should  be  cautiously  introduced  ;  and  when  applied, 
should  be  designed  with  regularity  and  distinctness 
of  outline  ;  they  should  also  be  of  a  character 
simple,  and  appropriate  to  the  work  of  which  they 
are  intended  to  form  the  embellishment. 

Yuu   may  lay   it   down   as  a  general    rule,    that 


upholsterer's  companion.  39 

when  a  corresponding  ornament  cannot  readily  be 
adopted,  one  of  an  opposite  character  is  not  ad- 
missible ;  and  in  that  case,  an  ornament  of  no 
peculiar  character  is  the  only  alternative. 

In  addition  to  the  essential  modifications  of 
utility  and  convenience,  the  secondary  objects, 
elegance  and  beauty,  are  indispensably  necessary 
to  be  studied,  to  render  each  piece  of  furniture 
what  it  should  certainly  be — a  graceful,  pleasing, 
and  appropriate  article. 

Hall  chairs. — The  family  arms,  or  crest,  carved 
tastefully,  and  emblazoned  in  their  proper  colours, 
form  a  most  appropriate  embellishment. 

Library  chairs. — Classic  ornaments,  such  as  the 
wreath  of  laurel,  two  genii  striving  for  the  bays, 
Minerva's  bird,  or  others  of  a  similar  character, 
may  be  introduced  with  good  effect. 

Drawing-room  chairs  admit  of  an  infinity  of  em- 
bellishment :  Apollo's  lyre,  the  Graces,  tastefully 
devised  scrolls,  flowers,  wreaths,  and  others  of  an 
appropriate  description,  may  be  executed  either  in 
buhl-work  or  in  carved  relief,  as  most  suited  to  the 
character  of  the  ornament  chosen. 

Cayd- tables,  being  used  for  breakfast  purposes,  as 
ffel^  is  for  the  evening  party,  may  have  the  tea  or 


40  CABINM  MAKER    AND 

coftee-pliint  for  their  ornaments,  or  the  masks  of 
Ceres,  Bacchus,  or  Coraus ;  but  for  a  dining  table, 
the  cornucopia,  or  some  bold  or  chaste  design  of 
fruit,  is  decidedly  the  more  appropriate.  Stars 
and  flowers  have  been  introduced  into  this  part  of 
cabinet  furniture;  but  a  greater  perversion  of  taste 
can  be  scarcely  conceived. 

Library  and  writing  tables  should  be  embellished 
altogether  from  mythological  history :  the  head  of 
Mercury,  placed  on  partitions  between  the  drawers, 
is  very  appropriate,  this  god  being  said  to  be  the  in- 
ventor of  letters  ;  the  caduceus  is  also  well  adapted 
for  an  ornament ;  so  is  the  papyrus-plant,  from 
which  paper  was  first  made;  the  laurel-wreath,  or  the 
bays,  may  likewise  be  used ;  but  no  other  trees, 
flower,  or  shrub  should  on  any  account  be  introduced 
unless,  indeed,  we  except  the  oak,  ink  being  made 
from  the  galls  produced  by  this  tree.  Besides  Mer- 
cury, Apollo,  the  god  of  poetry,  Cadmus,  the  in- 
ventor of  part  of  the  alphabet,  and  Clio,  the  presiding 
muse  of  history,  are  all  appropriate  embellishments, 
if  applied  with  effect  and  in  good  taste. 

Dining  tables. — Broad  ornaments  are  most  con- 
sistent ;  the  bread-tree  and  its  fruit  form  an  admi- 
rable subject;  hops,  also,  though  a  simple  plant,  form 


upholsterer's  companion,  41 

n  \^ei  y  Oeautiful  ornament  when  chased  and  inserted 
in  wood.  The  mask  of  Ceres,  with  the  corn  in  her 
hair,  is  also  well  suited  to  the  dining-room. 

Drawing-room  tables  may  be  properly  embel- 
lished with  any  tastefully  designed  ornament  of 
fruit  or  flowers. 

Sofas  require,  like  the  rest  of  the  furniture,  that 
their  ornaments  should  be  appropriate,  chaste,  and 
tasteful :  the  couch-flower,  the  heart's-ease,  honey- 
suckles, eglantines,  or  Turkish  ornaments  nay  be 
used  with  good  efl'ect ;  a  greyhound  couchant  may 
adorn  the  end  of  the  sofa. 

Ottomans  should  be  ornamented  with  the  lyre, 
or  with  musical  instruments,  or  wreaths.  Com- 
modes are  sometimes  placed  at  each  end  of  otto- 
mans; the  panels  of  which  may  be  embellished 
with  a  winged  figure  of  Victory,  and  the  pedestals 
surmounted  by  t^vo  antique  urns. 

A  dressing  table,  or  toilette,  may  be  embellished 
with  subjects  chosen  either  from  Mythology  or 
Botany  ;  the  Graces,  or  foliage  and  flowers  of 
scent-producing  plants. 

Window-seats  in  Drawing-rooms. — The  Egyptian 
lotus  or  water-lily,  or  any  flower  characteristic  of 

rest  and  composure,  may  be  very  properly  carved 

4* 


42  CABINET-MAKER    AND 

in  wood,  or  inserted  in  buhl.  English  heart's-ease, 
and  peony  flowers,  are  of  this  cast.  The  mould- 
ings, too,  should  be.  optically  studied,  that  their 
whole  contour  may  be  visible  below  the  eye,  as 
well  as  where  even  with  the  horizon. 

For  cheval  dressing  glasses,  the  lotus,  or  water- 
lily,  is  admirably  adapted ;  or  the  figure  of  Nar- 
cissus, viewing  his  own  image  in  the  water,  would 
be  very  appropriate.  For  a  pier  commode  and 
glass,  chimeras,  consoles,  or  turned  pillars,  are  well 
suited.  A  laurel-wreath  contended  for  by  two 
genii,  or  the  bust  of  Pallas,  or  Pluto,  may  be  very 
consistently  chosen  for  ladies'  bookcases,  with 
cabinet  attached. 

Sideboards  may  be  adorned  with  the  mask  of 
Bacchus,  or  the  horn  of  plenty ;  and  on  the  back- 
board the  thyrsus,  or  sceptre  of  Bacchus,  will  form 
a  very  beautiful  ornament ;  the  cellaret  may  have 
vine-leaves  and  clustered  leaves,  serpentined  and 
festooned.  Bacchanalian  youths  gathering  grapes, 
if  tastefully  finished,  would  be  an  admirable  orna- 
ment for  this  article  of  furniture. 

The  cot-bed  admits  a  great  variety  of  orna- 
ment. The  head  of  Nox,  the  goddess  of  night; 
the  stars,  as  her  attendants ;  and  a  bunch  of  pop- 


upholsterer's  companion.  43 

pies,  as  producing  sleep,  may  be  all  introduced 
with  good  effect ;  guardian  genii  or  angels,  doves, 
and  many  similar  emblems,  may  be  occasionally  ap- 
plied. White  drapery,  as  emblematical  of  infantilQ 
purity,  is  at  all  times  most  proper. 

Bedsteads  may  be  appropriately  adorned  with 
wreaths  of  nightshade,  stars,  a  mask  of  Somnus, 
the  starry  hyacinth,  the  great  Arabian  star-flower, 
the  poppy,  or  any  other  nocturnal  plant  or  flower. 

For  drawing-room  window-drapery,  the  embel- 
lishments to  be  chosen  should  be  pine-apples,  pome- 
granates, artichokes,  or  melons.  The  drapery  and 
testers,  for  drawing-rooms,  should  have  flowers  only, 
such  as  the  passion-flower,  the  star  of  Bethlehem, 
or  the  rhododendron.  The  sun-flower  looks  well, 
but  is  rather  common,  and  therefore  unfit  to  be 
introduced  into  elegant  apartments. 

Libraries  should  be  finished  in  imitation  of  the 
antique :  the  embellishments  should  be  of  a  strictly 
classical  description.  The  owl  and  olive-branch, 
the  laurel,  Pegasus,  the  Olympic  games  in  relief, 
are  very  appropriate ;  or  the  twelve  signs  of  the 
zodiac  may  be  inlaid  with  mosaic  work. 

Fire-screens  have  a  number  of  analogous  orna- 
ments:  Jove's  thunderbolt,  the  phoenix   rising  out 


44  CABINET-MAKER    AND 

of  flames,  the  cyclops,  Vesta,  the  goddess  of  fire, 
or  a  representation  of  the  fall  of  Phaeton.  These 
ornaments  are  equally  appropriate  for  grates ;  as 
3.re  also  serpents  vomiting  forth  fire.  Fish  or 
swans  are  applicable  to  a  basin-stand ;  and  an 
eagle  to  support  a  chandelier. 

The  preceding  are  some  of  the  most  tasteful  and 
appropriate  designs  for  the  various  articles  of  furni- 
ture described ;  and  are  intended  to  give  the  young 
cabinet-maker  an  insight  into  that  most  essential 
part  of  his  business — the  properly  finishing  and 
embellishing  his  work  with  appropriate  ornaments 
only — a  desideratum  overlooked  by  too  many  work- 
men of  the  present  day,  some  of  whom,  it  would 
appear,  seem  more  desirous  to  load  their  work  with 
ornament  than  to  study  its  fitness  or  appropriate- 
ness to  the  article  in  hand.  A  correct  taste,  a  bcid 
design,  and  a  careful  application,  will  insure  to  a 
workman  not  only  the  respect  of  his  employers,  but 
will  necessarily  entail  constant  employ  and  liberal 
remuneration. 


upholsterer's  companion.  •  45 

PART   11. 

UfUfcring,  $nlaijing,  etc. 

OF   VENEERING,  INLAYING,  AND   EXECUTING   IN    BUHL-WORK    THE 
ORNAMENTAL    PART    OF   CABINET    AND    UPHOLSTERY   WORK. 

Veneering  is  the  method  of  covering  an  inferior 
wood  with  a  surface  of  a  very  superior  kind,  so  that 
the  parts  of  the  article  of  furniture  thus  manufac- 
tured, which  meet  the  eye,  appear  to  the  same 
advantage  as  if  the  whole  work  were  of  the  best 
description.  If  this  be  well  performed,  it  is  very 
durable,  looks  well  to  the  last,  and  is  attainable  at 
an  expense  considerably  less  than  a  similar  article 
would  cost  if  manufactured  of  the  same  wood 
throughout,  but  of  an  inferior  quality. 

The  principal  requisite  to  insure  success  in  veneer- 
ing, is  to  select  well-seasoned  wood  for  the  ground, 
and  to  use  the  best  and  strongest  glue.  Be  careful 
to  exclude  the  air  in  gluing  on  your  veneer,  or  a 
blister  will  arise,  and  spoil  your  work  in  that  part. 
We  need  not  add  any  more  to  these  remarks,  as  the 
following  process  contains  the  most  essential  direc- 
tions necessary  in  this  department. 


46  CABINET-MAKER    AND 

Gluiyig  and  veneering,  as  applicable  to  card  and 
other  table  tojJS,  secretary  and  bookcase  fronts,  ^c. 

It  is  a  desideratum  among  workmen  to  veneer 
their  work  in  such  a  manner  that  it  will  stand. 
Several  of  the  methods  commonly  used  cause  the 
piece  either  to  warp  in  winding,  or  otherwise  to 
get  hollow,  after  the  work  is  finished,  on  its  upper 
side ;  and  however  careful  the  workman  may  be 
in  laying  his  veneer,  this  will  sometimes  happen. 
Much  depends  upon  the  manner  of  preparing  the 
ground,  perhaps  more  than  in  that  of  laying  the 
veneer.  Select  that  piece  of  deal  which  is  freest 
from  knots ;  slit  it  down  the  middle,  or,  take  a 
piece  out  of  the  heart,  and  place  the  boards,  when 
^ut  to  the  required  length,  in  a  warm  place  for  two 
or  three  days ;  then  joint  them  uj),  placing  a  heart 
edge  and  an  outside  edge  together;  when  dry,  cut 
your  top  again  between  each  joint,  and  joint  it 
afresh ;  you  will  then  have  a  top  glued  up  of  pieces 
about  two  inches  wide,  and  if  you  have  been  care- 
ful in  making  your  joints  good,  you  will  have  a  top 
not  so  liable  to  cast,  after  it  is  veneered,  as  many 
of  the  tops  which  are  now  done  by  the  method 
usually  in  practice. 


upholsterer's  companion.  47 

You  may  use  wainscot  or  other  wood,  instead  of 
deal,  but  make  your  joints  in  the  same  manner.  It 
is  also  a  good  plan,  after  having  veneered  your  top, 
to  lay  it  on  the  ground  with  some  shavings,  with  the 
veneer  downwards ;  it  then  dries  gradually,  and  is 
much  less  likely  to  cast  than  by  drying  too  quick. 

To  raise  old  veneers. 

In  repairing  old  cabinets,  and  other  furniture, 
workmen  are  sometimes  at  a  loss  to  know  how  to 
get  rid  of  those  blisters  which  appear  on  the  sur- 
face, in  consequence  of  the  glue  under  the  veneer 
failing,  or  causing  the  veneer  to  separate  from  the 
ground  in  patches ;  and  these  blisters  are  fre- 
quently so  situated,  that  without  separating  the 
whole  veneer  from  the  ground,  it  is  impossible  to 
introduce  any  glue  between  them,  to  relay  it,  the 
great  difficulty,  in  this  case,  is  to  separate  the  veneer 
from  the  ground  without  injuring  it,  as  it  adheres, 
in  many  places,  too  fast  to  separate  without  break- 
ing it.  We  will  here,  therefore,  show  how  this 
operation  may  be  performed  without  difficulty,  and 
the  veneer  preserved  perfectly  whole  and  uninjured, 
ready  for  relaying  as  a  new  piece.  First,-  wash  the 
surface  with  boiling  water,  ind,  with  a  coarse  cloth. 


48  CABINET-MAKER   AND 

remove  dirt  or  grease ;  then  place  it  before  the  fire, 
or  heat  it  with  a  caul ;  oil  its  surface  with  common 
linseed-oil,  place  it  again  to  the  fire,  and  the  heat 
will  make  the  oil  penetrate  quite  through  the  veneer, 
and  soften  the  glue  underneath ;  then,  whilst  hot, 
raise  the  edge  gently  with  a  chisel,  and  it  will  sepa- 
rate completely  from  the  ground :  be  careful  not  to 
use  too  great  force,  or  you  Avill  spoil  your  work. 
Again,  if  it  should  get  cold  during  the  operation, 
apply  more  oil,  and  heat  it  again.  Repeat  this  pro- 
cess till  you  have  entirely  separated  the  veneer, 
then  wash  off  the  old  glue,  and  proceed  to  lay  it 
again  as  a  new  veneer. 

A  strong  glue,  well  suited  for  inlaying  or  veneering. 

The  best  glue  is  readily  known  by  its  trans- 
parency, and  being  of  a  rather  light  brown,  free 
from  clouds  and  streaks.  Dissolve  this  in  water, 
and  to  every  pint  add  half  a  gill  of  the  best  vinegar 
and  half  an  ounce  of  isinglass. 

To  veneer  tortcis^-shell. 

First,  observe  to  have  your  shell  of  an  equal 
ihickness,  and  scrape  and  clean  the  under  side 
very  smooth ;  grind  some  vermilion  very  fine,  and 


upholsterer's  companion.  49 

mix  it  up  with  spirits  of  turpentine  and  varnish ; 
lay  two  or  three  coats  of  colour  on  the  under  side 
of  the  shell,  till  it  becomes  opaque ;  when  dry,  lay 
it  down  with  good  glue. 

BUHL-WORK. 

Buhl-work  is  the  art  of  inlaying  in  brass,  silver, 
ivory,  tortoise-shell,  &c.,  and  if  well  executed  has  an 
admirable  effect.  It  was  introduced  into  this  country 
some  years  since,  and  is  now  brought  to  a  state  of 
perfection  which  equals  any  thing  of  foreign  manufac- 
ture. It  is  now  in  very  general  use,  and  although 
almost  a  distinct  branch  of  itself,  it  is  certainly  an 
essential  part  of  cabinet-work,  and  as  such  no  work- 
man should  be  entirely  ignorant  how  to  perform  it. 

Inlaying,  as  it  is  commonly  termed,  that  is,  with 
fancy  woods,  has  been  too  long  in  use  to  require  any 
particular  directions.  Buhl-work  is  nothing  more 
than  inlaying  in  metals,  turtle  or  tortoise-shell,  ivory, 
or  the  like ;  and  the  chief  difficulty  seems  to  be  in 
the  method  of  cutting  out  the  pieces  for  inlaying, 
and  of  introducing  them  in  a  proper  manner  as  a 
veneer  or  inlay  to  the  work.  Our  directions  for 
sketching  and  drawing  ornaments  will  here  be  of 
gr*?at  use,  and  a  careful  attention  to  the  following 


60  CABINET-MAKER    AND 

directions  will  enable  the  persevering  and  ingenious 
workmun  to  surmount  every  difficulty. 

To  prepare  shell  or  brass  ready  for  cutting  out. 

Being  furnished  with  a  thin  piece  of  brass,  of  the 
thickness  of  the  veneer,  or  as  thin  as  can  be  conve- 
niently worked,  make  the  faces  on  both  sides  rough 
with  a  coarse  file,  or  tooth-plane  ;  take  also  a  veneer 
of  shell  of  the  dimensions  requisite,  tooth  that  also; 
then  warm  your  plates  and  veneers,  pass  a  coat  of 
glue  first  over  a  plate  of  brass;  place  over  that  a 
thin  sheet  of  paper ;  glue  that,  and  place  your  shell 
veneer  on  the  top ;  place  them  between  two  smooth 
and  even  boards,  either  kept  down  by  a  heavy 
weight,  or  scjueezed  tight  together  by  hand-screws ; 
let  them  remain  till  dry,  and  they  will  adhere  to- 
gether sufficiently  for  the  following  purpose. 

Cutting  out  the  jyattern. 
Draw  the  pattern  on  your  shell ;  if  not  sufficiently 
plain,  paste  a  piece  of  paper  on  its  surface,  and  let 
it  dry,  en  which  draw  your  design  ;  being  now  pro- 
vided with  a  bow-saw,  the  blade  of  which  is  very  thin 
and  narrow,  such  as  may  be  made  with  a  watcn- 
Bpring,  cut  into  about  six  strips,  and  the  stretcher  of 


upholsterer's  companion.  61 

the  frame  at  a  sufficient  distance  from  the  bhide  to 
enable  you  to  turn  in  any  direction,  according  to 
your  pattern,  and  all  made  extremely  light,  begin  by 
making  a  small  hole  in  your  veneer  in  a  part  where 
it  will  not  so  much  be  observed,  (unless  the  pattern 
comes  quite  out  to  the  edge,)  and  insert  your  saw ; 
then  very  carefully  follow  the  lines  of  your  pattern 
till  it  is  all  cut  through ;  you  will  then  have  two 
pieces,  which  may  be  separated  by  exposing  them 
to  steam  or  warm  water;  then  take  the  two  corre- 
sponding pieces,  one  of  brass  and  one  of  shell,  and 
when  glued  together  according  to  the  following 
direction,  you  will  have  two  veneers,  the  counter- 
parts in  pattern  with  each  other — only,  where  the 
brass  is  in' one,  the  shell  will  be  in  the  other. 

To  glue  ui)  the  patterns. 
Take  two  boards  of  sufficient  dimensions,  and  heat 
them  before  the  fire ;  rub  them  well  with  tallow  to 
prevent  the  glue  sticking  to  it;  then  take  a  sheet 
of  paper,  on  which  lay  your  veneer,  and  having  well 
rubbed  some  strong  glue  into  the  vacancies  where 
the  pattern  is  to  be  inserted,  put  it  carefully  in  its 
place,  rubbing  it  down  with  a  veneering-hammer, 
over  which  place  another  sheet  of  paper ;  place  the 


52  CABINEl   MAKER    AND 

whole  between  the  hot  ])oar(ls,  and  press  or  screw 
them  together  with  hand-screws ;  let  them  get  quite 
dry — they  will  come  out  quite  clean  from  the  boards, 
and  appear  as  one  piece  of  veneer;  you  may  then 
scrape  the  paper  clean  off — it  is  then  ready  for 
laying,  or  applying  to  your  work. 

Laying  your  veneer. 

Having  made  your  work  perfectly  level  with  a 
tooth-plane,  apply  to  your  veneer  the  glue  recom- 
mended on  page  48,  and  lay  it  on  your  work ;  then 
with  a  hot  board,  termed  a  caul,  fasten  it  down  by 
means  of  hand-screws,  and  let  it  remain  till  perfectly 
hard.  It  then  only  remains  to  be  cleaned  off  and 
polished,  according  to  the  following  directions. 

In  order  to  add  to  the  beauty  of  your  work,  and 
produce  a  variety  in  the  shade,  it  is  necessary  be- 
fore laying  your  veneer  to  give  that  side  intended 
to  be  glued  a  coat  or  two  of  some  colour  ground  in 
oil,  or  varnish,  and  set  by  to  dry  thoroughly  before 
you  lay  your  veneer,  as  red  lead  and  vermilion 
ground  together ;  king's  yellow,  Prussian  blue,  or 
any  colour  you  may  fancy ;  and  sometimes  the 
surface  is  gilt  on  the  side  which  you  intend  to  lay 
on  your  work  ;  this  produces  a  very  brilliant  effect. 


upholsterer's  companion.  53 

and  even  the    common   Dutch   melal   applied   will 
have  a  very  good  effect. 

The  method  here  given  for  tortoise-shell  and  brass 
is  equally  applicable  to  woods  of  two  different  co- 
lours, only  then  you  need  not  use  any  other  glue 
but  that  in  common  use,  which  must  be  good. 

hilaying  with  shaded  wood. 

Having  shown  the  methods  of  cutting  out  and 
veneering,  we  need  now  only  show  the  method  used 
to  produce  that  shady  brown  edge,  on  works  inlaid 
with  white  holly,  and  which,  when  well  executed, 
has  a  very  pleasing  and  ornamental  effect.  The 
method  is  as  follows  : — 

Into  a  shallow  iron  or  tin  pot,  put  a  sufficient 
quantity  of  fine  dry  sand,  to  be  level  with  the  top 
edge  of  it ;  place  it  on  the  fire  till  it  is  quite  hot ; 
then,  having  your  veneer  cut  out  to  the  required  pat- 
tern, dip  the  edges  into  the  hot  sand,  and  let  them 
remain  till  the  heat  has  made  them  quite  brown  ; 
but  be  careful  not  to  burn  them.  It  is  best  to  bring 
them  to  a  proper  colour  by  repeatedly  renewing  the 
operation  than  all  at  once,  as  you  then  do  not  in- 
jure the  texture  of  the  wood,  and  by  immersing 
more  or  less  of  the  edge,  you  produce  a   shaded 

5* 


54  CABIN Kl -MAKER    AND 

appearance  to  your  satisfaction.  I  would  hero  lo- 
commend  the  workman,  previous  to  beginning  the 
operation,  to  have  his  pattern  before  hira,  shaded 
with  umber,  or  any  brown  colour,  in  those  parts 
that  the  wood  is  to  be  stained,  as  he  then  will  be 
enabled,  as  he  proceeds,  to  copy  the  various  shades 
of  the  pattern,  for  the  wood  when  onoe  shaded  can- 
not be  altered  ;  and  as  much  of  the  beauty  of  this 
work  depends  on  a  proper  judgment  in  placing  your 
shadows,  it  is  best  always  to  have  a  guide  to  go 
by,  that  you  may  produce  the  best  possible  eifect. 
Sometimes  it  is  requisite  to  give  a  shadow  in  the 
centre,  and  not  on  the  edge  of  your  wood ;  and  as 
this  cannot  be  done  by  dipping  it  in  the  sand,  you 
must  do  it  by  taking  up  a  little  of  the  hot  sand,  and 
sprinkling  it,  or  heaping  it  up  on  those  parts  re- 
quired to  be  darkened,  letting  it  remain  a  short 
time,  then  shaking  it  off,  and,  if  necessary,  apply 
more  where  the  colour  is  not  deep  enough. 

To  imitate  inlaying  of  silver  strings,  ^e. 

This    process    is    sometimes    employed    in    the 

stocks,  &c.  of  pistols,  and   if  well   executed  has  a 

very  good  effect      The  first  thing  is  to  determine 

as  to  your  pattern,  which  you  must  carefully  draw 


UPHOLSTERER  S    COMPANION.  55 

upon  your  work,  and  then  engrave,  or  cut  away  the 
different  lines  with  sharp  gouges,  chisels,  &c.,  so  as 
to  appear  clean  and  even, — taking  care  to  cut  them 
deep  enough,  and  rather  under,  like  a  dovetail,  to 
secure  the  composition  afterwards  to  be  put  in  the 
channels.  The  composition  to  resemble  silver  may 
be  made  as  follows :  Take  any  quantity  of  the  purest 
and  best  grain-tin  ;  melt  it  in  a  ladle  or  other  con- 
venient receptacle ;  add  to  it,  while  in  fusion,  the 
purest  quicksilver,  stirring  it  to  make  it  incorporate; 
when  you  have  added  enough,  it  will  remain  in  a 
stiff  paste ;  if  too  soft,  add  more  tin,  and  if  not 
sufficiently  fluid,  add  quicksilver  ;  grind  this  compo- 
sition on  a  marble  slab,  or  in  a  mortar,  with  a  little 
size,  and  fill  up  the  cuttings  or  grooves  in  your  work, 
as  you  would  with  a  piece  of  putty ;  let  it  remain 
some  hours  to  dry,  when  you  may  polish  it  off  with 
the  palm  of  your  hand,  and  it  will  appear  as  if  your 
work  was  inlaid  with  silver.  Instead  of  tin,  you  may 
make  a  paste  of  silver-leaf  and  quicksilver,  and  pro- 
ceed as  above  directed  ;  you  may  also,  for  the  sake 
of  variety  in  your  work,  rub  in  wax  of  different 
colours,  and  having  levelled  the  surface  and  cleaned 
off  your  work,  hold  it  a  moderate  distance  from  the 
fire,  which  will  give  your  strings  a  good  gloss. 


66  CABINET-MAKER    AND 

A  glue  for  inlajjing  brass  or  silver  strings,  S^c. 

Melt  your  glue  as  usual,  and  to  every  pint  add, 
of  finely-powdered  resin  and  finely-powdered  brick- 
dust,  two  spoonfuls  each ;  incorporate  the  whole 
well  together,  and  it  will  hold  the  metal  much  faster 
than  plain  glue. 

To  2^olish  brass  ornaments  inlaid  in  ivood. 

If  your  brass-work  be  very  dull,  file  it  with  a 
small,  smooth  file ;  then  polish  it  with  a  rubber  of 
hat  dipped  in  Tripoli  powder  mixed  with  linseed  oil, 
in  the  same  manner  as  you  would  polish  varnish, 
until  it  has  the  desired  effect. 

To  wash  brass  figures  over  with  silver. 
Take  one  ounce  of  aquafortis,  and  dissolve  in  it, 
over  a  moderate  fire,  one  drachm  of  good  silver,  cut 
small  or  granulated;  this  silver  being  wholly  dis- 
solved, take  the  vessel  off'  the  fire,  and  tbrow  into 
it  as  much  white  tartar  as  is  required  to  absorb  all 
the  liquor.  The  residue  is  a  paste,  with  which  you 
may  rub  over  any  work  made  of  copper,  and  which 
will  give  it  the  colour  of  silver. 

To  imitate  tortoise-shell  on  coj^per. 
Rub  copper  laminas  over  with  oil  of  nuts,  then 
dry  them  over  a  slow  fire,  supported  by  their  ex- 
tremities upon  small  iron  bars. 


upholsterer's  companion.  57 


PART    III. 

3B^tu\%  S^^ainint^,  ^iltiing,  etc. 

)F  DYEING  AND  STAINING  WOODS,  IVORY,  BONE,  TORTOISE- 
SHELL,  MUSICAL  INSTRUMENTS,  AND  ALL  OTHER  MANUFAC- 
TURED articles;  WITH  THE  PROCESSES  OF  SILVERING,  GILD- 
ING, AND    BRONZING. 

Dyeing  wood  is  mostly  applied  for  the  purpose 
Df  veneers,  while  staining  is  more  generally  had 
'ecourse  to  to  give  the  desired  colour  to  the  article 
after  it  has  been  manufactured.  In  the  one  case, 
;he  colour  should  penetrate  throughout,  while  in  the 
latter  the  surface  is  all  that  is  essential. 

In  dyeing  pear-tree,  holly,  and  beech,  take  the 
best  black  ;  but  for  most  colours,  holly  is  preferable, 
[t  is  also  best  to  have  your  wood  as  young  and  as 
newly  cut  as  possible.  After  your  veneers  are  cut, 
they  should  be  allowed  to  lie  in  a  trough  of  water 
fur  four  or  five  days  before  you  put  them  into  the 
copper :  as  the  water,  acting  as  a  purgative  to  the 
wood,  brings  out  abundance  of  slimy  matter,  which, 
if  not  thus  removed,  the  wood  will  never  be  of  a 
good  colour.     After  this  purificatory  process,  they 


58  CABIXET-MAKER    AND 

should  be  dried  in  the  open  air  for  at  least  twelve 
hours.  They  are  then  ready  for  the  copper.  By 
these  simple  means,  the  colour  will  strike  much 
quicker,  and  be  of  a  brighter  hue.  It  would  also 
add  to  the  improvement  of  the  colours,  if,  after  your 
veneers  have  boiled  a  few  hours,  they  are  taken  out, 
dried  in  the  air,  and  again  immersed  in  the  colour- 
ing copper.  Always  dry  veneers  in  the  open  air, 
for  fire  invariably  injures  the  colours. 

Fine  black. 

Put  six  pounds  of  chip  logwood  into  your  copper, 
with  as  many  veneers  as  it  will  conveniently  hold, 
without  pressing  too  tight ;  fill  it  with  water,  and 
let  it  boil  sloivhj  for  about  three  hours ;  then  add 
half  a  pound  of  powdered  verdigris,  half  a  pound 
of  copperas,  and  four  ounces  of  bruised  nut-galls ; 
fill  the  copper  up  with  vinegar  as  the  water  evapo- 
rates; let  it  boil  gently  two  hours  each  day  till  the 
wood  is  dyed  through. 

Another  method. 

Procure  some  liquor  from  a  tanner's  pit,  or 
make  a  strong  decoction  of  oak-bark,  and  to  every 
gallon  of  the  liquor  add  a  quarter  of  a  pound  of 


upholsterer's  companion.  59 

^reen  copperas,  and  mix  them  well  together ;  put 
he  liquor  into  the  copper,  and  make  it  quite  hot, 
)ut  not  to  boil ;  immerse  the  veneers  in  it,  and  let 
hem  remain  for  an  hour ;  take  them  out,  and  ex- 
)ose  them  to  the  air  till  it  has  penetrated  its  sub- 
tance ;  then  add  some  logwood  to  the  solution, 
)lace  your  veneers  again  in  it,  and  let  it  simmer  for 
wo  or  three  hours ;  let  the  whole  cool  gradually, 
Iry  your  veneers  in  the  shade,  and  they  will  have 
.cquired  a  very  fine  black. 

Fine  blue. 

Into  a  clean  glass  bottle  put  one  pound  of  oil  of 
itriol,  and  four  ounces  of  the  best  indigo  pounded 
n  a  mortar,  (take  care  to  set  the  bottle  in  a  basin 
ir  earthen  glazed  pan,  as  it  will  ferment ;)  now  put 
'our  veneers  into  a  copper  or  stone  trough ;  fill  it 
ather  more  than  one-third  with  water,  and  add  as 
ouch  of  the  vitriol  and  indigo  (stirring  it  about)  as 
^'ill  make  a  fine  blue,  which  you  may  know  by  try- 
ng  it  with  a  piece  of  white  paper  or  wood ;  let  the 
'eneers  remain  till  the  dye  has  struck  through. 

The  colour  will  be  much  improved,  if  the  solution 
(f  in.ligo  in  vitriol  be  kept  a  few  weeks  before  using 
t.      j'ou  will  also  find  the  colour  strike  better,  if 


60  CABINET-MAKER    AND 

you  boil  your  veneers  in  plain  water  till  completely 
soaked  through,  and  let  them  remain  for  a  few 
hours  to  dry  partially,  previous  to  immersing  them 
in  the  dye. 

Another. 

Throw  pieces  of  quicklime  into  soft  water  ;  stir  it 
well ;  when  settled,  strain  or  pour  off  the  clear  part ; 
then  to  every  gallon  add  ten  or  twelve  ounces  of 
the  best  turnsole ;  put  the  whole  into  your  copper 
with  your  veneers,  which  should  be  of  white  holly, 
and  prepared  as  usual  by  boiling  in  water  ;  let  them 
simmer  gently  till  the  colour  has  sufficiently  pene- 
trated, but  be  careful  not  to  let  them  boil  in  it,  as 
it  would  injure  the  colour. 

A  fine  yellow. 

Reduce  four  pounds  of  the  root  of  barberry,  by 
sawing,  to  dust,  which  put  in  a  copper  or  brass 
trough ;  add  four  ounces  of  turmeric  and  four  gal- 
lons of  water,  then  put  in  as  many  white  holly 
veneers  as  the  liquor  will  cover ;  boil  them  together 
for  three  hours,  often  turning  them;  when  cool,  add 
two  ounces  of  aquafortis,  and  the  dye  will  strike 
through  much  sooner. 


upholsterer's  companion.  61 

A  bright  yelloiv. 
To  every  gallon  of  water,  necessary  to  cover  your 
veneers,  add  one  pound  of  French  berries  ;  boil  the 
veneers  till  the  colour  has  penetrated  through ;  add 
the  following  liquid  to  the  infusion  of  the  French 
berries,  and  let  your  veneers  remain  for  two  or 
three  hours,  and  the  colour  will  be  very  bright. 

Liquid  for  brightening  and  setting  colours. 
To  every  pint  of  strong  aquafortis,  add  one 
ounce  of  grain  tin,  and  a  piece  of  sal-ammoniac  of 
the  size  of  a  walnut ;  set  it  by  to  dissolve,  shake 
the  bottle  round  with  the  cork  out,  from  time  to 
time :  in  the  course  of  two  or  three  days  it  will 
be  fit  for  use.  This  will  be  found  an  admirable 
liquid  to  add  to  any  colour,  as  it  not  only  brightens 
it,  but  renders  it  less  likely  to  fade  from  exposure 
to  the  air. 

Bright  green. 
Proceed  as  in  either  of  the  previous  receipts  to 
produce  a  yellow ;  but  instead  of  adding  aqua- 
fortis or  the  brightening  liquid,  add  as  much  vitriol- 
ated  indigo  (page  59)  as  will  produce  the  desired 
colour. 


62  CABINET-MAKER   AND 

Another  green. 

Dissolve  four  ounces  of  the  best  verdigris,  and  sap 
green  and  indigo  half  an  ounce  each,  in  three  pints 
of  the  best  vinegar;  put  in  your  veneers,  and  gently 
boil  till  the  colour  has  penetrated  sufficiently. 

The  hue  of  the  green  may  be  varied  by  altering 
the  proportion  of  the  ingredients  ;  and  I  should 
advise,  unless  wanted  for  a  particular  purpose,  to 
leave  out  the  sap  green,  as  it  is  a  vegetable  colour 
very  apt  to  change,  or  turn  brown,  when  exposed 
to  the  air. 

Bright  red. 
To  two  pounds  of  genuine  Brazil  dust,  add  four  gal- 
lons of  water ;  put  in  as  many  veneers  as  the  liquor 
will  cover  ;  boil  them  for  three  hours  ;  then  arid  two 
ounces  of  alum,  and  two  ounces  of  aquafortis,  and 
keep  it  lukewarm  until  it  has  struck  through. 

Another  red. 

To  every  pouhd  of  logwood  chips,  add  two  gal- 
lons of  water ;  put  in  your  veneers,  and  boil  as  in 
the  last  ;  then  add  a  sufficient  quantity  of  the 
brightening  lii^uid  (page  Gl)  till  you  sec  the  colour 
to   your   mind  ;  keep   the    whole   as   warm   as  you 


upholsterer's  companion.  63 

can  bear  your  finger  in  it,  till  the  colour  has  suffi- 
ciently penetrated. 

The  logwood  chips  should  be  picked  from  all 
foreign  substances,  with  Avhich  it  generally  abounds, 
as  bark,  dirt,  &c. ;  and  it  is  always  best  when  fresh 
cut,  which  may  be  known  by  its  appearing  of  a 
bright  red  colour ;  for  if  stale,  it  will  look  brown, 
and  not  yield  so  much  colouring  matter. 

Purple. 

To  two  pounds  of  chip  logwood  and  half  a  pound 
of  Brazil  dust,  add  four  gallons  of  water,  and  after 
putting  in  your  veneers,  boil  them  for  at  least 
three  hours ;  then  add  six  ounces  of  pearlash  and 
two  ounces  of  alum ;  let  them  boil  for  two  or  three 
hours  every  day,  till  the  colour  has  struck  through. 

The  Brazil  dust  only  contributes  to  make  the 
purple  of  a  more  red  cast ;  you  may,  therefore, 
omit  it,  if  you  require  a  deep  blush  purple. 

Another  purple. 
Boil  two  pounds  of  logwood,  either  in  chips  or 
powder,  in  four  gallons  of  water,  with  your  veneers , 
after  boiling  till  the  colour  is  well  struck  in,  add 
by  degrees  vitriolated  indigo,  (see  page  59,)  till 
the  purple  is  of  the  shade  required,  which  may  be 


64  CABINET-MAKER    AND 

known  by  trying  it  with  a  piece  of  paper;  let  it 
then  boil  for  one  hour,  and  keep  the  liquid  in  a 
milk-warm  state  till  the  colour  has  penetrated  the 
veneer.  This  method,  when  properly  managed,  will 
produce  a  brilliant  purple,  not  so  likely  to  fade  as 
the  foregoing. 

Orange. 
Let  the  veneers  be  dyed,  by  either  of  the  methods 
given  in  page  61,  of  a  fine*deep  yellow,  and  while 
they  are  still  wet  and  saturated  with  the  dye,  trans- 
fer them  to  the  bright  red  dye  as  in  page  62,  till 
the  colour  penetrates  equally  throughout. 

Silver  gray. 
Expose  to  the  weather  in  a  cast-iron  pot  of  six  or 
eight  gallons,  old  iron  nails,  hoops,  &c.,  till  covered 
with  rust ;  add  one  gallon  of  vinegar,  and  two  of 
water,  boil  all  well  for  an  hour ;  have  your  veneers 
ready,  which  must  be  air-wood,  (not  too  dry,)  put 
them  in  the  copper  you  use  to  dye  black,  and  pour 
the  iron  liquor  over  them ;  add  one  pound  of  chip 
logwood,  and  two  ounces  of  bruised  nut-galls  ;  then 
boil  up  another  pot  of  the  iron  liquor  to  supply  the 
copper  with,  keeping  the  veneers  covered,  and  boil- 
ing two  hours  a  day,  till  of  the  required  colour. 


upholsterer's  companion.  65 

Another  gray. 

Expose  any  quantity  of  old  iron,  or  what  is  better, 
the  borings  of  gun-barrels,  &c.,  in  any  convenient 
vessel,  and  from  time  to  time  sprinkle  them  with 
spirits  of  salt,  (muriatic  acid,)  diluted  in  four  times 
its  quantity  of  water,  till  they  are  very  thickly 
covered  with  rust ;  then  to  every  six  pounds  add  a 
gallon  of  water,  in  which  has  been  dissolved  two 
ounces  of  salt  of  tartar ;  lay  your  veneers  in  the 
copper,  and  cover  them  with  this  liquid :  let  it  boil 
for  two  or  three  hours  till  well  soaked,  then  to  every 
gallon  of  liquor  add  a  quarter  of  a  pound  of  green 
copperas,  and  keep  the  whole  at  a  moderate  temper- 
ature till  the  dye  has  sufficiently  penetrated. 

STAINING. 

Staining  wood  is  altogether  a  different  process 
from  dying  it,  and  requires  no  preparation  before  the 
stain  be  applied  :  it  is  peculiarly  useful  to  bedstead 
and  chair  makers.  In  preparing  the  stain,  but  little 
trouble  is  required  ;  and,  generally  speaking,  its 
application  diifers  very  little  from  that  of  painting. 
When  carefully  done,  and  properly  varnished,  stain- 

6* 


66  CABINET-MAKER    AND 

ing  has  a  very  beautiful  appearance,  and  is  much 
less  likely  to  meet  with  injury  than  japanning. 

Black  stain  for  immediate  use. 
Boil  half  a  pound  of  chip  logwood  in  two  quarts 
of  water,  add  one  ounce  of  pearlash,  and  apply  it 
hot  to  the  work  with  a  brush.  Then  take  half  a 
pound  of  logwood,  boil  it  as  before  in  two  quarts 
of  water,  and  add  half  an  ounce  of  verdigris  and 
half  an  ounce  of  copperas  ;  strain  it  off,  put  in  half 
a  pound  of  rusty  steel  filings ;  with  this,  go  over 
your  work  a  second  time. 

To  stain  beech  a  mahogany  colour. 
Put   two   ounces   of   dragon's    blood,   broken    in 
pieces,    into   a   quart   of  rectified  spirits  of  wine ; 
let  the  bottle  stand  in  a  warm  place,  shake  it  fre 
quently ;  when  dissolved,  it  is  fit  for  use. 

Another  method  for  a  black  stain. 
Boil  one  pound  of  logwood  in  four  quarts  of 
water,  add  a  double  handful  of  walnut-peel  or 
shells ;  boil  it  up  again,  take  out  the  chips,  add  a 
pint  of  the  best  vinegar,  and  it  will  be  fit  for  use; 
apply  it  boiling  hot. 


upholsterer's  companion.  G7 

This  will  be  improved,  if,  when  dry,  you  apply 
hot  a  solution  of  green  copper,  as  dissolved  in  water, 
(an  ounce  to  a  quart,)  over  your  first  stain. 

To  imitate  rosewood. 
Boil  half  a  pound  of  logwood  in  three  pints  of 
water  till  it  is  of  a  very  dark  red ;  add  half  an 
ounce  of  salt  of  tartar.  While  boiling  hot,  stain 
your  wood  with  two  or  three  coats,  taking  care 
that  it  is  nearly  dry  between  each ;  then,  with  a 
stiff  flat  brush,  such  as  is  used  by  the  painters  for 
graining,  form  streaks  with  the  black  stain  above- 
named,  which,  if  carefully  executed,  will  be  very 
nearly  the  appearance  of  dark  rosewood. 

Another  method. 

Stain  with  the  black  stain  ;  and  when  dry,  with  a 
brush  as  above,  dipped  in  the  brightening  liquid,  (see 
page  61,)  form  red  veins,  in  imitation  of  the  grain 
of  rosewood,  which  will  produce  a  beautiful  eS"ect. 

A  handy  brush  for  the  purpose  may  be  made 
out  of  a  flat  brush,  such  as  is  used  for  varnishing ; 
cut  the  sharp  points  off,  and  make  the  edges  irre- 
gular, by  cutting  out  a  few  hairs  here  and  there, 
and  you  will  have  a  tool  which  wMl  accurately 
imitate  the  grain. 


68  CABINET-MAKER    AND 

To  imitate  king  or  Botany-lay  wood. 

Boil  half  a  pound  of  French  berries  in  two  quarts 
of  water,  till  of  a  deep  yellow,  and,  while  boiling 
hot,  give  two  or  three  coats  to  your  work :  when 
nearly  dry,  form  the  grain  with  the  black  stain, 
which  must  also  be  used  hot. 

You  may,  for  variety,  to  heighten  the  colour, 
after  giving  it  two  or  three  coats  of  yellow,  give 
one  of  strong  logwood  liquor,  and  then  use  the 
black  stain  as  directed. 

Red  stain  for  bedsteads  and  common  chairs. 

Archil,  as  sold  at  the  shops,  will  produce  a  very 
good  stain  of  itself,  when  used  cold ;  but  if,  after 
one  or  two  coats  being  applied,  and  suffered  to  get 
almost  dry,  it  is  brushed  over  with  a  hot  solution 
of  pearlash  in  water,  it  will  improve  the  colour. 

To  improve  the  colour  of  any  stain. 

* 

Mix  in  a  bottle  one  ounce  of  nitric  acid,  half  a 
tea-spoonful  of  muriatic  acid,  a  quarter  of  an  ounce 
of  grain  tin,  and  two  ounces  of  rain  water.  Mix  it 
at  least  two  days  before  using,  and  keep  your  bottle 
well  corked. 


upholsterer's  companion.  69 

To  stain  horn  in  imitation  of  tortoise-shell. 
Mix  an  equal  quantity  of  quicklime  and  red  lead 
with  strong  soap   lees,  lay  it   on  the  horn  with  a 
small  brush,  in  imitation  of  the  mottle  of  tortoise- 
shell  ;  when  dry,  repeat  it  two  or  three  times. 

To  stain  ivory  or  bone  red. 

Boil  shavings  of  scarlet  cloth  in  water,  and  add  by 
degrees  pearlash  till  the  colour  is  extracted  ;  a  little 
roach  alum,  now  added,  will  clear  the  colour ;  then 
strain  it  through  a  linen  cloth.  Steep  your  ivory  or 
bone  in  aquafortis  (nitrous  acid)  diluted  with  twice  its 
quantity  of  water ;  then  take  it  out,  and  put  it  into 
your  scarlet  dye  till  the  colour  is  to  your  mind.  Be 
careful  not  to  let  your  aquafortis  be  too  strong ; 
neither  let  your  ivory  remain  too  long  in  it.  Try  it 
first  with  a  slip  of  ivory,  and  if  you  observe  the  acid 
has  just  caused  a  trifling  roughness  on  its  surface, 
take  it  out  immediately,  and  put  it  into  the  red 
liquid,  which  must  be  warm,  but  not  too  hot.  A 
little  practice,  with  these  cautions,  will  enable  you 
to  succeed  according  to  your  wishes  ;  cover  the 
places  you  wish  to  remain  unstained  with  white  wax, 
and  the  stain  will  not  penetrate  in  those  places,  but 
leave  the  ivory  of  its  natural  colour. 


70  CABINET-MAKER    AND 

To  stain  ivory  or  hone  Hack. 

Add  to  any  quantity  of  nitrate  of  silver  (lunar 
caustic)  three  times  its  bulk  of  water,  and  steep 
your  ivory  or  bone  in  it ;  take  it  out  again  in  about 
an  liour,  and  expose  it  to  the  sunshine  to  dry,  and 
it  will  be  a  perfect  black. 

To  stain  ivory  or  hone  green. 

Steep  your  work  in  a  solution  of  verdigris  and 
sal-ammoniac  in  weak  aquafortis,  in  the  proportion 
of  two  parts  of  the  former  to  one  of  the  latter,  being 
careful  to  use  the  precautions  mentioned  for  stain- 
ing red,  in  page  69. 

To  stain  ivory,  ^c.  hlue. 

Stain  your  materials  green  according  to  the 
previous  process,  and  then  dip  them  in  a  strong 
solution  of  pearlash  and  water. 

To  stain  ivory,  ^c.  yellow. 
Put  your  ivory  in  a  strong  solution  of  alum  in 
water,  and  keep  the  whole  some  time  nearly  boil- 
ing ;  then  take  them  out  and  immerse  them  in  a 
hot  mixture  of  turmeric  and  water,  either  with  or 
without  the  addition  of  French  berries ;  let  them 
fiimraer  for  about  half  an  hour,  and  your  ivory  will 
be  of  a  beautiful  yellow.  Ivory  or  bone  should  dry 
very  gradually,  or  it  will  split  or  crack. 


upholsteuek's  companion.  71 

TO  STAIN  MUSICAL  INSTRUMENTS. 
Fine  crimson. 

Boil  one  pound  of  good  Brazil  dust  in  three 
quarts  of  water  for  an  hour  ;  strain  it,  and  add 
half  an  ounce  of  cochineal ;  boil  it  again  gentlj  for 
half  an  hour,  and  it  will  be  fit  for  use. 

If  jou  will  have  it  more  of  a  scarlet  tint,  boil  half 
an  ounce  of  saffron  in  a  quart  of  water  for  an  hour, 
and  pass  over  the  work  previous  to  the  red  stain. 

Purple. 
To   a   pound   of  good   chip   logwood,   put   three 
quarts  of  water  ;  boil  it  well  for  an  hour  ;  then  add 
four  ounces  of  pearlash,  and  two  ounces  of  indigo 
pounded. 

Fine  black. 

In  general,  when  black  is  required  in  musical 
in-struments,  it  is  produced  by  japanning  ;  the  work 
being  well  prepared  with  size  and  lampblack,  apply 
the  black  japan,  (as  sold  at  the  varnish-maker's,) 
after  which,  varnish  and  polish. 

But  as  a  black  stain  is  sometimes  required  for 
finger-boards,  bridges,  and  flutes,  you  may  then 
proceed    as    directed    in    staining  ;    but    the   wood 


72  CABINETMAKER   AND 

ought  to  be  either  pear,  apple,  or  boxwood ;  the 
latter  is  preferable  ;  and  if  it  be  rubbed  over,  when 
dry,  with  a  rag  or  flannel  dipped  in  hot  oil,  it  will 
give  it  a  gloss  equal  to  ebonj. 

Fine  blue. 
Into  a  pound  of  oil  of  vitriol  (sulphuric  acid)  in  a 
clean  glass  phial,  put  four  ounces  of  indigo,  and 
proceed  as  above  directed  in  dyeing  purple. 

Fine  green. 

To  three  pints  of  the  strongest  vinegar,  add  four 
ounces  of  the  best  verdigris  pounded  fine,  half  an 
ounce  of  sap  green,  and  half  an  ounce  of  indigo. 

Distilled  vinegar,  or  verjuice,  improves  the  co- 
lour. 

Bright  yellow. 

You  need  not  stain  wood  yellow,  as  a  small  piece 
of  aloes  put  into  the  varnish  will  have  all  the  de- 
sired eflect. 

To  stain  boxwood  brown. 
Hold  your  work  to  the  fire,  that  it  may  receive 
a  gentle  warmth;  then  take  aquafortis,  and  with 
a  feather  pass  over  the  work  till  you  find  a  cliange 
to  a  fine  brown,  (always  keeping  it  near  the  fire ;) 
you  may  then  oil  and  polish  it. 


upholsterer's  .companion.  73 


SILVERING  AND   GILDING. 

The  art  of  silvering,  as  applied  to  cabinet-work, 
is  precisely  similar  to  that  of  gilding ;  the  direc- 
tions for  the  one  will,  therefore,  be  the  instructions 
for  the  other,  with  little  other  variation  than  using 
silver-leaf  instead  of  gold-leaf.  Silvering  for  plate- 
glass  is  a  trade  by  itself,  and  is  too  troublesome 
and  expensive  a  process,  except  where  carried  on 
in  an  extensive  way,  to  be  introduced  in  a  work 
where  its  place  can  be  occupied  with  matter  more 
useful  to  the  cabinet-maker. 

There  are  two  methods  of  gilding.  That  for 
out-door  work,  to  stand  the  weather  or  to  wash, 
is  called  oil-gilding ;  this  is  performed  by  means 
of  oil  or  varnish.  The  other,  called  burnish-gild- 
ing, is  the  most  beautiful,  and  best  adapted  for 
fine  work — as  frames,  articles  of  furniture,  &c.,  or 
as  applied  by  the  cabinet-maker  in  the  internal 
decoration  of  rooms,  or  the  carved  work  of  furni- 
ture. Both  these  methods  are  so  essential  to  the 
ingenious  workman,  that  we  shall  give  him  every 
instruction  necessary  to  perform  hie  work  in  the 
best  manner. 


14  CABINET-MAKER   ANI* 

The  requisites  necessary  to  he  provided  with. 

First,  a  sufficient  quantity  of  leaf-gold,  which  is 
of  two  sorts — the  deep  gold,  as  it  is  called,  and  the 
pale  gold.  The  former  is  the  best ;  the  latter  very 
useful,  and  may  occasionally  be  introduced  for 
variety  or  effect. 

Second,  a  gilder's  cushion  :  an  oblong  piece  of 
wood,  covered  with  rough  calf-skin,  stuffed  with 
flannel  several  times  doubled,  with  a  border  of 
parchment,  about  four  inches  deep  at  one  end,  to 
prevent  the  air  blowing  the  leaves  about  when 
placed  on  the  cushion. 

Thirdly,  a  gilding-knife,  with  a  straight  and  very 
smooth  edge,  to  cut  the  gold. 

Fourthly,  several  camel-hair  pencils  in  sizes,  and 
tips,  made  of  a  fcAV  long  camel's  hairs  put  between 
two.  cards,  in  the  same  manner  as  hairs  are  put  into 
tin  cases  for  brushes,  thus  making  a  flat  brush  with 
a  very  few  hairs. 

Lastly,  a  burnisher,  which  is  a  crooked  piece  of 
agate  set  in  a  long  wooden  handle. 

Size  for  oil  gilding. 
Grind  calcined  red-ochre  with  the  best  and  oldest 
drying  oil,  and  mix  with  it  a  little  oil  of  turpentine 
when  used. 


upholsterer's  companion.  75 

When  you  intend  to  gild  your  work,  first  give  it 
a  coat  of  parchment-size  ;  then  apply  the  above  size 
where  requisite,  either  in  patterns  or  letters,  and  let 
it  remain  till,  by  touching  it  with  your  fingers,  it 
feels  just  sticky;  then  apply  your  gold-leaf,  and  dab 
it  on  with  a  piece  of  cotton  ;  in  about  an  hour  wash 
oflf  the  superfluous  gold  with  sponge  and  water,  and, 
when  dry,  varnish  it  with  copal  varnish. 

To  make  size  for  preparing  frames,  ^c. 

To  half  a  pound  of  parchment  shavings,  or  cut- 
tings of  white  leather,  add  three  quarts  of  water, 
and  boil  it  in  a  proper  vessel  till  reduced  to  nearly 
half  the  quantity;  then  take  it  off  the  fire,  and 
strain  it  through  a  sieve.  Be  careful,  in  the  boil- 
ing, to  keep  it  well  stirred,  and  do  not  let  it  burn. 

To  prepare  frames  or  wood-work. 

First,  with  the  above  alone,  and  boiling-hot,  go 
over  your  frames  in  every  part ;  then  mix  a  sufii- 
cient  quantity  of  whiting  with  size,  to  the  consist 
ency  of  thick  cream,  with  which  go  over  every 
part  of  your  frame  six  or  seven  times,  carefully 
letting  each  coat  dry  before  you  proceed  with  the 
next,  and   you  will  have  a  white   ground   fit  for 


76  CABINET  MAKER    AND 

gilding  on,  nearly  or  quite  the  sixteenth  of  an  inch 
in  thickness. 

Your  size  must  not  be  too  thick,  and,  when  mixed 
with  the  whiting,  should  not  be  put  on  so  hot  as  the 
first  coat  is  by  itself.  It  will  be  better  to  separate 
the  dirty  or  coarse  parts  of  the  whiting  by  straining 
it  through  a  sieve.     Vauxhall-whiting  is  the  best. 

Polishing. 

When  the  prepared  frames  are  quite  dry,  clean 
and  polish  them.  To  do  this,  wet  a  small  piece  at  a 
time,  and,  with  a  smooth,  fine  piece  of  cloth,  dipped 
in  water,  rub  the  part  till  all  the  bumps  and  inequali- 
ties are  removed ;  and  for  those  parts  where  the  fiji- 
gers  will  not  enter,  as  the  mouldings,  &c.,  wind  the 
wet  cloth  round  a  piece  of  wood,  and  by  this  means 
make  the  surface  all  smooth  and  even  alike. 

Where  there  is  carved  work,  &c.,  it  will  some- 
times be  necessary  to  bring  the  mouldings  to  their 
original  sharpness  by  means  of  chisels,  gouges,  &c., 
as  the  preparation  will  be  apt  to  fill  up  all  the  finer 
parts  of  the  work,  which  must  be  thus  restored.  It 
is  sometimes  the  practice,  after  polishing,  to  go  over 
your  work  once  with  fine  yellow  or  Roman  ochre ; 
but  this  is  rarely  necessary. 


upholsterer's.  COMPANION.  77 

Gold-size. 
Grind  fine  sal-ammoniac  well  with  a  muller  and 
Btone  ;  scrape  into  it  a  little  beef-suet,  and  grind  all 
well  together ;  after  which,  mix  in  with  a  pallet- 
knife  a  small  proportion  of  parchment-size  with  a 
double  proportion  of  water. 

Another  gold-size. 

Grind  a  lump  of  tobacco-pipe  clay  into  a  very 
stiff  paste  with  thin  size ;  add  a  small  quantity  of 
ruddle  and  fine  black-lead,  ground  very  fine,  and 
temper  the  whole  with  a  small  piece  of  tallow. 

To  prepare  your  frames  for  gilding. 

Take  a  small  cup  or  pipkin,  into  which  put  as 
much  gold-size  as  you  judge  suflScient  for  the  work  in 
hand ;  add  parchment-size  till  it  will  just  flow  from 
the  brush  ;  when  quite  hot,  pass  over  your  work  with 
a  very  soft  brush,  taking  care  not  to  put  the  first  coat 
too  thick ;  let  it  dry,  and  repeat  it  twice  or  three 
times  more,  and,  when  quite  dry,  brush  the  whole 
with  a  stiff  brush,  to  remove  any  remaining  knobs. 
Your  work  is  now  ready  for  applying  the  gold. 

Your  parchment-size  should  be  of  such  a  consist- 
ence, when   cold,  as  the  common  jelly  sold  in  the 


78  CABINfiT-MAKER   AND 

shops  :  for  if  too  thick  it  will  be  apt  to  chip,  and 
if  too  thin  it  will  not  have  sufficient  body. 

Laying  on  the  gold. 

This  is  the  most  difficult  part  of  the  operation, 
and  requires  some  practice ;  but,  with  a  little  cau- 
tion and  attention,  it  may  be  easily  performed. 

Turn  your  gold  out  of  your  book  on  your  cushion, 
a  leaf  at  a  time ;  then,  passing  your  gilding-knife 
under  it,  bring  it  into  a  convenient  part  of  your 
cushion  for  cutting  it  into  the  size  of  the  pieces  re- 
quired ;  breathe  gently  on  the  centre  of  the  leaf, 
and  it  will  lay  flat  on  your  cushion ;  then  cut  it  to 
your  mind  by  bringing  the  knife  perpendicularly 
over  it,  and  sawing  it  gently  till  divided. 

Place  your  work  before  you  in  a  position  nearly 
horizontal,  and,  with  a  long-haired  camel's-hair  pen- 
cil, dipped  in  water,  (or  with  a  small  quantity  of 
brandy  in  the  water,)  go  over  as  much  of  your  work  as 
you  intend  the  piece  of  gold  to  cover ;  then  take  up 
your  gold  from  your  cushion  with  your  tip ;  by  draw- 
ing it  over  your  forehead  or  cheek,  it  will  damp  it  suffi- 
ciently to  adhere  to  the  gold,  which  must  then  care- 
fully be  transferred  to  your  work,  and,  gently  breath- 
ing on  it,  it  will  adhere  ;  but  take  care  that  the  part 


upholsterer's  companion.  79 

you  apply  it  to  is  sufficiently  wet ;  indeed,  it  must  be 
floating,  or  you  will  find  the  gold  apt  to  crack  :  pro- 
ceed in  this  manner  by  a  little  at  a  time,  and  do  not 
attempt  to  cover  too  much  at  once,  till  by  experience 
you  are  able  to  handle  the  gold  with  freedom.  Be 
careful,  in  proceeding  with  your  work,  if  you  find 
any  flaws  or  cracks  appear,  to  take  a  corresponding 
piece  of  gold,  and  apply  it  immediately  ;  sometimes, 
also,  you  will  find  it  necessary,  when  your  gold  does 
not  appear  to  adhere  sufficiently  tight,  to  draw^  a 
pencil  quite  filled  with  water  close  to  the  edge  of 
the  gold,  that  the  water  may  run  underneath  it, 
which  will  answer  your  expectation. 

Burnishing. 

When  your  work  is  covered  with  gold,  set  it  by 
to  dry  ;  it  will  be  ready  to  burnish  in  about  eight 
or  ten  hours ;  but  it  will  depend  on  the  warmth  of 
the  room  or  state  of  the  air,  and  practice  will 
enable  you  to  judge  of  the  proper  time. 

When  it  is  ready,  those  parts  which  you  intend  to 
burnish  must  be  dusted  with  a  soft  brush,  and,  wiping 
your  burnisher  with  a  piece  of  soft  wash-leather, 
(quite  dry,)  begin  to  burnish  about  an  inch  or  two 
in  length  at  a  time,  taking  care  not  to  lean  too  hard, 


80  CABINET-MAKER    AND 

but  with  a  gentle  and  quick  motion  apply  the  tool 
till  you  find  it  equally  bright  all  over. 

Matting,  or  dead  gold. 

Those  parts  of  your  work  which  look  dull  from 
not  being  burnished,  are  now  to  be  matted,  that 
is,  are  to  be  made  to  look  like  dead  gold ;  for  if 
left  in  its  natural  state  it  will  have  a  shining  ap- 
pearance, which  must  be  thus  rectified: — 

Grind  some  vermilion,  or  yellow  ochre,  very 
fine,  and  mix  a  very  small  portion  either  with  the 
parchment-size  or  with  the  white  of  an  egg,  and 
with  a  very  soft  brush  lay  it  even  and  smooth  on 
the  parts  intended  to  look  dull ;  if  well  done,  it 
will  add  greatly  to  the  beauty  of  the  work. 

The  work  must  be  well  cleared  of  superfluous 
gold,  by  means  of  a  soft  brush,  previous  to  bur- 
nishing or  matting. 

Finishing. 
It  is  now  only  necessary  to  touch  the  parts  in 
the  hollows  with  a  composition  made  by  grinding 
vermilion,  gamboge,  and  red  lead,  very  fine,  with 
oil  of  turpentine,  and  applying  it  carefully  with  a 
small  brush  in  the  parts  required,  and  your  work  is 
completed. 


upholsterer's  companion.  81 

Sometimes  the  finishing  is  done  by  means  of  shell- 
gold,  which  is  the  best  method ;  it  should  be  diluted 
with  gum-Arabic,  and  applied  with  a  small  brush. 

To  make  shell-gold. 
Take  any  quantity  of  leaf-gold,  and  grind  it, 
with  a  small  portion  of  honey,  to  a  fine  powder ; 
add  a  little  gum-Arabic  and  sugar-candy,  with  a 
little  water,  and  mix  it  well  together ;  put  it  in  a 
shell  to  dry  until  you  want  it. 

Silver-size. 
Take  tobacco-pipe  clay,  grind  it  fine  with  a  little 
black  lead  and  Genoa  soap,   and   add   parchment- 
size  as  directed  for  the  gold-size. 

Note. — Any  soap  would  most  probably  answer  as  well  as 
Genoa  soap;  but  it  is  here  directed,  as  it  has  been  found  to 
answer  very  well. 

Silvering. 
Silvering  is  at  present  but  little  in  use,  though 
some  old  works  still  look  very  well,  and  it  might  be 
introduced  with  advantage  to  many  works;  the  great 
fault  is  that  it  is  apt  to  tarnish ;  but  may  be  pre- 
served, with  very  little  diminution  to  its  beauty,  by 
applying  a  thin  coat  of  the  cleanest  copal  or  mastic 
varnish.     The  process  for  silvering  is  exactly  the 


82  CABINET-MAKER    AND 

same  as  for  gilding ;  but  the  matting  must  be  done 
by  mixing  a  small  quantity  of  flake  white  in  a 
powder,  with  a  little  Prussian  blue  (just  sufficient 
to  tinge  it)  along  with  plain  size  or  white  of  egg. 

To  make  liquid  foil  for  silvering  glass  globes,  bent 
mirrors,  ^c. 

To  half  an  ounce  of  lead,  add  half  an  ounce  of 
fine  tin,  and  melt  them  together  in  an  iron  ladle ; 
when  in  a  state  of  fusion,  add  half  an  ounce  of 
bismuth ;  skim  off  the  dross,  remove  the  ladle  from 
the  fire,  and,  before  it  cools,  add  five  ounces  of 
quicksilver,  and  stir  the  whole  well  together,  ob- 
serving not  to  breathe  over  it,  as  the  evaporation 
of  the  silver  is  very  pernicious. 

In  mixing,  avoid  breathing  the  fumes  that  are 
evaporated,  as  it  is  a  poison  of  the  most  deadly 
nature. 

Another  method. 
To  four  ounces  of  quicksilver,  put  as  much  tin 
foil  as  will  become  barely  fluid  when  mixed ;  have 
your  globe  clean  and  warm,  and  inject  the  quick- 
silver by  means  of  a  clean  earthen  pipe  at  the  aper- 
ture, turning  it  about  till  it  is  silvered  all  over ; 
let  the  remainder  run  out,  and  hang  it  up. 


UPHOLSTKRER'S   gOMPANION.  83 

An  excellent  receipt  to  burnish  gold-size. 
One  ounce  of  blacklead,  ground  very  fine,  one 
ounce  of  deer-suet,  one  ounce  of  red  chalk,  and  one 
pound  of  pipe-clay,  ground  with  weak  parchment- 
size  to  a  stiff  consistency  ;  to  be  used  as  directed  in 
the  article  "  Size  for  oil  gilding,"  page  74. 

To  gild  leather  for  bordering -doors,  folding^ 
screens,  cf-c. 

Damp  a  clear  brown  sheepskin  with  a  sponge  and 
water,  and  strain  it  tight,  with  tacks,  on  a  board,  suf- 
ficiently large ;  when  dry,  size  it  with  clear  double 
size  ;  then  beat  the  whites  of  eggs,  with  a  whisk,  to  a 
foam,  and  let  them  stand  to  settle  ;  then  take  books 
of  leaf-silver,  a  sufficient  quantity,  and  blow  out  the 
leaves  of  silver  on  a  gilder's  cushion  ;  pass  over  the 
leather  carefully  with  the  egg-size,  and  with  a  tip- 
brush  lay  on  the  silver,  closing  any  blister  with  a 
piece  of  cotton  ;  when  dry,  varnish  them  over  with 
yellow  lacker  till  they  are  of  a  fine  gold  colour.  Your 
skin  being  thus  gilt,  you  may  then  cut  it  into  strips 
as  you  please,  and  join  with  paste  to  any  length. 

Perform  the  foregoing  operation  in  the  height 
of  summer,  when  the  air  is  clear,  dry,  and  warm, 
that  the  skin  may  dry  well  before  you  size  it,  and 
the  size  may  have  the  desired  effect  upon  the  pores, 


84  CABINET-MAKER   AND 

and  no  further,  and  the  silver  will  not  tarnish  be- 
fore you  lacker  it. 

To  gild  the  borders  of  leather  tops  of  library -tableiSy 
work-boxes,  ^c. 
The  tops  of  library-tables,  &c.,  are  usually  covered 
with  Morocco  leather,  and  ornamented  with  a  gilt 
border,  and  are  usually  sent  to  the  bookbinder  for 
that  purpose.  The  method  by  which  they  perform  it 
is  as  follows  : — They  first  go  over  that  part  intended 
to  be  gilt  with  a  sponge  dipped  in  the  glair  of  eggs, 
which  is  the  whites  beaten  up  to  a  froth,  and  left  to 
settle ;  and  the  longer  made  or  older  it  is  so  much  the 
better ;  then,  being  provided  with  a  brass  roller,  on 
the  edge  of  which  the  pattern  is  engraved,  and  fixed 
as  a  wheel  in  a  handle,  they  place  it  before  the  fire  till 
heated,  so  that,  by  applying  a  wetted  finger,  it  will 
just  hiss;  while  it  is  heating,  rub  the  part  with  an 
oiled  rag,  or  clean  tallow,  where  the  pattern  is  in- 
tended to  be,  and  lay  strips  of  gold  on  it,  pressing  it 
down  with  cotton  :  then  with  a  steady  hand  run  the 
roller  along  the  edge  of  the  leather,  and  wipe  the  su- 
perfluous gold  off  with  an  oiled  rag,  and  the  gold  will 
adhere  in  those  parts  where  the  impression  of  the 
roller  has  been,  and  the  rest  will  rub  off  with  the 
oiled  rag. 


UPHOLSTEREIl'S    COMPANION.  85 


BRONZING. 

The  art  of  bronzing  is  equally  useful  to  the 
cabinet-maker  as  the  smith — the  carved  and  turned 
work  in  furniture  being  frequently  finished  in  imita- 
tion of  bronze,  and,  if  well  done,  has  a  very  elegant 
effect,  and  adds  much  to  the  beauty  of  the  article. 
It  is  by  no  means  a  difficult  process,  but  neverthe- 
less requires  considerable  care  and  judgment  to 
arrive  at  perfection. 

To  bronze  figures. 

For  the  ground,  after  it  has  been  sized  and  rubbed 
down  in  a  similar  manner  as  if  for  gilding,  take 
Prussian  blue,  verditer,  and  spruce  ochre ;  grind 
them  separately  in  water,  turpentine,  or  oil,  accord- 
ing to  the  work  ;  mix  them  together  in  such  propor- 
tions as  will  produce  the  colour  you  desire ;  then 
grind  Dutch-metal,  commonly  called  bronze,  in  the 
same  material  you  grind  your  colour,  laying  it  on 
the  prominent  parts  of  the  figure  ;  and,  if  done  with 
care,  it  will  produce  a  grand  effect. 

There  are  several  diff"erent  colours  of  bronze, 
which   are   best  imitated   by  the   powders  sold   at 


86  CABINET-MAKER   AND 

almost  all  colour-shops,  called  bronze-powders,  in- 
dependent of  the  one  here  mentioned  of  Dutch- 
metal,  which  it  will  be  best  to  purchase,  as  they 
are  made,  not  without  considerable  trouble,  by  dis- 
solving diflferent  metals  in  aquafortis,  and  precipi- 
tating the  solutions  by  means  of  sal-ammoniac,  and 
washing  the  precipitate  in  water,  and  drying  it  on 
blotting-paper.  The  ingenious  artist  will  suit  the 
colour  of  the  bronze  by  mixing  corresponding  colours 
of  paint  for  a  ground. 

To  bronze  on  wood. 

Having  stained  those  parts  intended  for  bronzing 
black,  by  any  of  those  methods  show^n  under  the 
article  "  Staining,"  take  japanners'  gold-size,  and 
mix  with  a  small  portion  of  Roman  ochre  and  Prus- 
sian blue  ;  go  over  the  blacked  parts  lightly  ;  then 
suffer  it  to  dry  till  it  feels  just  sticky  to  the  fingers, 
but  not  to  come  off;  then,  with  a  hard  ball  of  cotton 
dipped  in  any  of  the  bronze  powders,  rub  those 
places  that  are  prominent,  and,  if  you  think  proper, 
give  it  a  thin  coat  of  japanners'  gold-size,  thinned 
with  spirits  of  turpentine.  Or  you  may  alter  the 
colour  of  your  bronze,  by  mixing  cither  more  or  less 
blue,  as  also  other  colours,  as  verditer  green  by  it- 


upholsterer's  companion.  87 

self;  but  do  not  put  your  colour  on  thick  over  the 
black  stain,  but  rather  glaze  it  on, — for  it  is  not 
wanted  in  a  body,  but  should  be  rather  transparent, 
as  it  makes  it  more  of  a  metallic  appearance. 

To  bronze  brass  figures  for  ornaments. 

After  having  lackered  your  brass-work  in  those 
parts  you  wish  to  look  like  gold,  take  for  those 
parts  as  are  intended  to  appear  as  bronze  any 
quantity  of  umber,  either  burnt  or  in  its  natural 
state,  according  to  the  colour  you  require,  and 
grind  it  with  a  small  quantity  of  spirits  of  wine. 
Do  the  same  with  verditer,  and  also  spruce  ochre. 
Keep  these  colours  separate  for  use,  and,  when 
wanted,  take  some  pale  gold-lacker  and  mix  with 
it  a  portion  of  these  ingredients  till  you  get  the 
colour  required ;  then  apply  this  mixture  in  the 
same  manner  as  directed  in  lackering  brass-work, 
(page  88.)  You  may  also  mix  with  it  any  coloured 
bronze-powder,  for  the  sake  of  variety.  A  little 
experience,  and  a  few  experiments  with  these  com- 
positions, will  enable  the  workman  to  imitate  any 
bronze  or  colour  he  pleases. 


88  CABINET-MAKER   AND 

PART   IV. 
Earltrring,  Japanning,  Uarni^ijing,  ^c. 

OF    LACKERING,    JAPANNING,    VARNISHING,    AND    POLISHING 
CABINET    AND    UPHOLSTERY   WORK   GENERALLY. 


LACKERING. 

Among  the  arts  that  lend  their  assistance  to  the 
cabinet-maker,  in  the  completion  of  many  of  his 
articles  of  furniture,  that  of  lackering  must  not 
be  forgotten.  To  do  what  the  cabinet-maker  may 
require,  few  directions  are  necessary,  it  being  a 
simple  and  easy  process. 

To  lacker  brass-ivork. 

If  your  work  is  old^  clean  it  first,  according  to  the 
directions  hereafter  given  ;  but  if  new,  it  will  merely 
require  to  be  freed  from  dust,  and  rubbed  with  a 
piece  of  wash-leather,  to  make  it  as  bright  as  possible. 
Put  your  work  on  a  hot  iron  plate  (or  the  hob  of  your 
fire-place  will  be  a  good  substitute)  \ill  it  is  mode- 
rately heated,  but  not  too  hot,  or  it  will  blister  your 


upholsterer's  companion.  89 

lacker ;  then,  according  to  the  colour  you  wish,  take 
of  the  following  preparations,  and,  making  it  warm, 
lay  hold  of  your  \^  ork  with  a  pair  of  pincers  or  pliers, 
and  with  a  soft  brush  apply  the  lacker,  being  careful 
not  to  rub  it  on,  but  stroke  the  brush  gently  one 
way,  and  place  your  work  on  the  hot  plate  again  till 
the  varnish  is  hard ;  but  do  not  let  it  remain  too  long. 
Experience  will  best  tell  you  when  it  should  be  re- 
moved. Some,  indeed,  do  not  place  it  on  the  stove 
or  plate  a  second  time.  If  it  should  not  be  quite 
covered,  you  may  repeat  it  carefully ;  and,  if  pains  be 
taken  with  your  lacker,  it  will  look  equal  to  metal  gilt. 

To  make  gold  lacker  for  brass. 

Rectified  spirits  of  wine,  half  a  pint ;  mix  half  a 
pound  of  seed-lac,  picked  clean,  and  clear  of  all 
pieces  (as  upon  that  depends  the  beauty  of  the 
lacker)  with  the  spirits  of  wine ;  keep  them  in  a 
warm  place,  and  shake  them  repeatedly.  When  the 
seed-lac  is  quite  dissolved,  it  is  fit  for  use. 

Another  lacker. 

Take  of  the  clearest  and  best  seed-lac  a  quarter 
of  a  pound,  and  of  dragon's-blood  a  quarter  of  an 
ounce ;  pound  them  well  together,  add  a  gill  and  a 

8* 


90  CABINET-MAKER   AND 

half  of  the  best  spirits  of  wine,  set  it  in  a  warm 
place  to  dissolve ;  strain  it,  and  it  is  fit  for  use. 

Superior  lacker  for  brass. 

Take  of  seed-lac,  three  ounces ;  amber  or  copal, 
ground  on  porphyry,  one  ounce ;  dragon's-blood, 
twenty  grains ;  extract  of  red  sandal-wood,  fifteen 
grains  ;  oriental  safi'ron,  eighteen  grains;  very  pure 
alcohol,  twenty  ounces.  To  apply  this  varnish  to 
ornaments  or  articles  of  brass,  expose  them  to  a 
gentle  heat,  and  dip  them  into  the  varnish ;  two  or 
three  coatings  may  be  applied  in  this  manner,  if 
necessary.  The  varnish  is  durable,  and  has  a  beau- 
tiful colour.  Articles  varnished  in  this  manner  may 
be  cleansed  with  water  and  a  bit  of  dry  rag. 

Pale  gold  lacker. 

Dissolve,  in  a  quarter  of  a  pint  of  spirits  of  wine, 
as  much  gamboge  as  will  give  it  a  bright  yellow ;  then 
add  three  ounces  of  seed-lac,  finely  powdered  and 
sifted  ;  set  it  in  a  sand-bath  to  dissolve.  When  that 
is  the  case,  bottle  and  stop  it  well  till  wanted  for  use. 

Lacker  with  spirits  of  turpentine. 
Take   seed-lac  two    ounces,   sandaric   or  mastic 


upholsterer's  companion.  91 

two  ounces,  dragon's-blood  a  quarter  of  an  ounce, 
gum  gutte  twenty  grains,  clear  turpentine  one 
ounce,  and  the  best  spirits  of  turpentine  sixteen 
ounces. 

This  lacker,  though  certainly  not  equal  to  those 
made  with  spirits  of  wine,  is,  from  its  cheapness,  often 
very  useful  for  the  more  common  purposes.  It  does 
not  dry  so  quick,  nor  is  it  so  durable ;  but  for  such 
purposes  as  lackering  silvered  leather,  &c.,  it  answers 
very  well.  We  may  here  remark  that  we  may  vary 
the  colour  of  our  lackers  by  using  more  or  less,  or 
altering  the  proportion  of  the  colouring  material ; 
and  at  the  same  time  notice  that  all  the  colouring  sub- 
stances that  are  of  a  resinous  quality,  or  that  will  give 
out  their  colouring  matter  when  infused  in  spirits,  are 
proper  to  be  used  in  the  composition  of  lacker.  We 
may  therefore  make  lackers  of  almost  any  colour,  by 
selecting  different  colouring  materials,  and  mixing 
them  with  the  other  compositions  used  as  the  basis 
of  all  lackers,  such  as  seed-lac,  shell-lac,  &c. 

To  clean  old  brass-work  for  lackering. 
Make  a  strong  ley  of  wood-ashes,  which  may  be 
strengthened  by  soap-lees;  put  in  your  brxss-work, 
and  the  lacker  will  soon  come  off;  then  have  ready 


92  CABINET-MAKER    AND 

a  mixture  of  aquafortis  and  water,  sufficiently  strong 
to  take  off  the  dirt;  wash  it  afterwards  in  clean 
water,  and  lacker  it  with  such  of  the  above  compo- 
sitions as  may  be  most  suitable  to  your  work. 

JAPANNING. 

Japanning  is  generally  performed  by  persons 
brought  up  to  the  practice  of  the  art  exclusively;  but, 
as  it  frequently  happens  that  japanned  work  receives 
damage  when  it  is  very  inconvenient  (either  for  dis- 
tance or  other  circumstances)  to  send  for  a  japanner 
to  repair  it,  it  may  not  be  improper  to  lay  down 
the  most  simple  methods  used  in  that  branch. 

Take  care  to  provide  yourself  with  a  small  muller 
and  stone,  to  grind  any  colour  you  may  require ; 
and  observe  that  all  your  wood-work  must  be  pre- 
pared with  size,  and  some  coarse  material  mixed 
with  it,  to  fill  up  and  harden  the  grain  of  the  wood, 
(such  as  may  best  suit  the  colour  intended  to  be 
laid  on,)  which  must  be  rubbed  smooth  with  glass 
paper  when  dry;  but  in  cases  of  accident,  it  is 
seldom  necessary  to  re-size  the  damaged  places, 
unless  they  are  considerable. 

Always  grind  your  colours  smooth  in  spirits  of 


upholsterer's  companion.  93 

turpentine;  then  add  a  small  quantity  of  turpen- 
tine and  spirit-varnish ;  lay  it  carefully  on  with  a 
camel's-hair  brush,  and  varnish  it  with  brown  or 
white  spirit-varnish,  according  to  the  colour. 

You  will  also  find  a  box,  filled  with  currier's 
shavings,  useful  for  cleaning  your  stones  and  pallet 
with,  for  they  should  never  be  laid  by  dirty,  as  the 
beauty  of  the  work  depends  a  great  deal  on  keeping 
all  your  colours  separated  :  therefore,  before  you 
grind  another  colour,  the  first  should  be  well  wiped 
off  your  stone. 

For  a  black  Japan. 

Mix  a  little  gold-size  and  lampblack :  it  will  bear 
a  good  gloss  without  varnishing  over. 

To  imitate  black  rosewood. 
The  work  must  be  grounded  black,  after  which  well 
grind  some  red  lead,  mixed  up  as  before  directed, 
which  lay  on  with  a  flat  stiff  brush,  in  imitation  of 
the  streaks  in  the  wood:  after  which,  take  a  small 
quantity  of  lake,  ground  fine,  and  mix  it  with  brown 
spirit-varnish,  carefully  observing  not  to  have  more 
colour  in  it  than  will  just  tinge  the  varnish :  but, 
should  it,  on  trial,  be  still  too  red,  assist  it  with  a 
little  umber  ground  very  fine,  with  which  pass  ovijr 


94  CABINET-MAKER    AND 

the  whole  of  the  work  intended  to  imitate  black 
rosewood,  and  it  will  have  the  desired  effect. 

If  well  done,  when  it  is  varnished  and  polished  it 
will  scarcely  be  known  from  rosewood. 

Instead  of  the  umber  in  the  above,  you  may  use 
a  small  quantity  of  Vandyke  brown ;  it  is  much 
more  transparent  than  the  umber. 

INDIA  JAPANNING. 

The  great  peculiarity  in  the  Indian  method  is  the 
embossing,  or  raising  the  figures,  kc,  above  the  sur- 
face or  ground,  and  the  metallic  or  bronze-like  hue 
of  the  several  designs  ;  the  grotesque  appearance  of 
the  several  ornaments,  whether  figures,  landscapes, 
or  whatever  other  designs  they  are  embellished  with, 
being  so  totally  different  from  every  principle  of 
perspective,  and  so  opposite  to  every  idea  we  have 
of  correct  drawing.  Nothing  but  the  study  of 
Chinese  models  themselves  will  enable  the  workmen 
to  imitate,  with  any  degree  of  precision,  their  several 
characteristics.  We  can,  therefore,  only  give  such 
directions  for  preparing  the  ground,  embossing  the 
designs,  and  producing  the  peculiar  eflfect  of  Chinese 
japan,  as  will   enable   the  ingenious   mechanic  to 


I 


upholsterer's  companion.  95 

execute  any  work  of  the  kind  with  truth  and  accu- 
racy, according  to  any  copy  given,  while  it  must 
remain  with  him  to  use  taste  and  judgment  in  effect- 
ing a  likeness  which  will  characterize  this  peculiar 
manufacture. 

Ground  for  Chinese  japan. 
Mix  any  quantity  of  the  finest  whiting  to  the  con- 
sistency of  paint  with  isinglass  size ;  lay  on  your  wood 
two  or  three  coats,  observing  to  put  it  on  evenly  and 
smoothly,  and  not  too  thick  ;  let  it  dry  ;  then  rub  it 
gently  with  a  soft  rag  and  water  till  the  surface  is 
quite  level  and  polished  ;  if  you  add  a  small  portion 
of  honey  to  the  mixture,  it  will  render  it  less  liable  to 
crack  or  peel  off.  If  your  ground  is  to  be  black, 
which  is  the  most  usual  ope,  give  it  a  coat  or  two  of 
the  black  japan  mentioned  in  the  common  method  of 
japanning,  and  it  is  prepared  for  your  figures,  &c. 

Another  ground. 
Mix  fine  plaster  of  Paris  with  size  not  too  thick, 
and  apply  it  quickly,  for  it  soon  gets  hard.  Two 
coats,  in  most  instances,  will  be  sufiicient.  After 
it  is  quite  dry,  polish  it  with  fine  glass  paper,  and 
rub  it  with  a  wet  soft  cloth ;  then  give  it  two  or 
throe  coats  of  drying  linseed  oil,  or  as  much  aa 


96  CABINET-MAKER   AND 

it  will  soak  up.     When  dry,  it  is  ready  for  japan- 
ning. 

To  make  black  japan. 
Grind  ivory  or  lampblack  very  fine  with  tur- 
pentine, add  a  little  lac  varnish  or  copal  varnish, 
and  temper  it  to  a  proper  consistency  with  varnish 
for  laying  on  your  ground.  Give  your  work  two 
or  three  coats  at  least,  using  a  gentle  heat,  as  di- 
rected in  varnishing. 

To  trace  your  designs  on  the  ground. 
Having  drawn  the  figures  on  a  piece  of  white 
paper  either  with  ink  or  pencil,  rub  the  back  of  it 
with  fine  chalk  or  whiting,  and  shake  all  the  loose 
powder  off:  lay  it  on  your  ground,  and  trace  or 
go  over  every  part  of  your  outline  with  the  end  of 
a  blunt  bodkin,  or  other  similar  instrument ;  you 
will  then  have  a  sketch  in  faint  outline  on  your 
ground.  You  may  then  proceed  to  put  in  your 
figures,  &c.,  with  any  colour  you  wish,  or  bronze 
them. 

To  raise  figures  on  your  work. 
Prepare   a  mixture   of  whiting   and   size,   (some 
prefer  the  whites  of  eggs,)  of  a  consistency  to  flow 
freely  from  your  pencil,  the  hairs  of  which  must 


upholsterer's  companion.  07 

be  rather  long.  Begin  with  a  figure,  or  other  part 
— but  do  not  do  too  much  at  a  time — and  trace  the 
outline  correctly,  with  a  free  hand ;  then  take  a 
piece  of  stick  pointed  at  the  end,  dip  it  into  your 
composition,  and  fill  up  the  inside  of  your  outline. 
Continue  to  put  more  of  the  mixture  on  till  it  is 
raised  sufficiently  above  the  surface.  Let  it  get 
quite  dry,  and  then  polish  it  with  a  small  carael's- 
hair  pencil  and  clean  water,  so  as  to  make  it  perfectly 
smooth  and  level.  Care  must  be  taken  in  this  pro- 
cess, that  your  composition  is  not  too  thin,  or  it  will 
spread  beyond  the  bounds  of  your  outline, — but  just 
so  thick  as  to  drop  from  the  stick.  Some  mix  with 
the  whiting  a  portion  of  flake-white,  or  dry  white- 
lead.  This  is  an  improvement,  and  for  very  par- 
ticular work  should  be  adopted. 

BRONZES  PECULIARLY  ADAPTED  FOR 
INDIA  JAPAN^NING  AND  SIMILAR  PUR- 
POSES. 

Gold. 

Put  any  quantity  of  gold-leaf  into  a  stone  mortar, 
together  with  a  small  portion  of  honey  and  a  little 
water;  grind  them  w^ell  together,  till  the  gold  seems 
dispersed  throughout  the  whole  paste;  add  by  de- 


98  CABINET-MAKER   AND 

grees  more  water  till  it  i^  quite  thin,  keeping  it  con- 
tinually stirred  ;  let  it  settle,  and  pour  the  water  off, 
as  near  as  you  can,  without  wasting  your  gold ;  re- 
peat the  washing  till  you  see  the  gold  in  the  form  of 
a  fine  powder  at  the  bottom.  Then  pour  the  water 
clean  off,  and  turn  the  gold  out  on  a  piece  of  blotting- 
paper  ;  keep  it  from  the  dust,  and,  when  all  the 
moisture  is  evaporated,  put  it  into  a  bottle  for  use. 

This  is  a  very  expensive  bronze,  and  used  only 
for  those  works  which  are  very  particular.  But  a 
very  good  substitute  may  be  had  by  treating  Dutch- 
metal  in  the  same  manner ;  but  be  sure  to  keep 
this  close-stopped,  or  it  is  very  apt  to  tarnish. 

Copper. 

Put  some  very  fine  filings  of  copper  into  an  iron 
mortar,  and  beat  them  the  same  as  that  of  the  gold- 
leaf  or  Dutch-metal ;  instead  of  using  honey,  you 
may  pound  it  dry  with  a  portion  of  sal-ammoniac,  and 
then  wash  it  as  above  ;  keep  this  also  from  the  air-. 
Brass  filings  may  be  treated  in  the  same  manner. 

Silver 

^lay  be  made  with  silver-leaf,  treated  in  the  same 
manner  as  directed  for  gold.     This  must  also  be 


UPHOLSTERER  S    COMPANION.  99 

kept  well  stopped  in  a  bottle,  and  wrapped  in  paper, 
as  it  is  as  apt  to  change  as  the  Dutch-metal. 

Tin. 

Mek  grain-tin  in  a  ladle  over  the  fire ;  when  in  a 
fluid  state,  add,  by  degrees,  quicksilver,  and  stir  it 
well.  It  will  be  transformed  into  a  grayish  powder, 
which,  for  the  sake  of  variety,  you  may  use  with 
others,  either  alone  or  mixed. 

By  mixing  these  different  bronzes  together,  you 
may  produce  a  great  variety,  that  will  add  much  to 
the  beauty  of  your  work  ;  and  we  may  here  remark, 
that  there  is  a  variety  of  colours  in  gold-leaf,  all  of 
which  will  produce  a  differently  coloured  powder. 

In  the  city,  a  variety  of  coloured  bronzes  can  be 
procured  at  the  colour  shops,  at  less  expense  than 
we  can  make  them  :  but  not  so  in  the  country.  We 
have,  therefore,  here  set  down  those  that  are  most 
generally  useful. 

Method  of  applying  the  bronze. 
Go  over  the  part  you  intend  to  bronze  with  gold  size 
or  varnish ;  when  it  is  sufficiently  dry — that  is,  when 
it  does  not  adhere  to  the  finger,  but  feels  clammy — 
dip  a  piece  of  cotton,  rolled  into  a  hard  ball,  in  your 
bronze-powder,  and  dab  it  on  the  place  to  be  bronzed. 


100  CABIN  t:T  MAKER    AND 

To  japan  work-hoxes,  ^c. 
There  is  a  \gvj  pretty  method  of  ornamenting 
boxes,  cabinets,  &c.,  so  that  the  figures  appear  of 
the  colour  of  the  wood,  and  the  ground  black ;  this, 
by  many,  is  produced  by  first  tracing  out  the  pattern, 
and  then  pricking-in  those  parts  which  shall  appear 
as  the  ground,  cither  black  or  any  colour  at  fancy. 
This  is  a  very  tedious  process,  and  even  when  finished 
with  the  greatest  care,  will  not  appear  regular  or 
well  defined  in  the  pattern.  The  following  method 
will  be  found  very  expeditious,  and  at  the  same  time 
very  correct ;  it  is  but  little  known-,  and,  as  such, 
will  to  the  practical  japanner  be  the  more  acceptable. 
It  may  also  be  applied  to  many  other  purposes  than 
here  alluded  to.  The  following  preparation  is  neces- 
sary, and  may  be  termed  the  stopping  out  mixture; 
it  is  made  by  dissolving  the  best  white  beeswax  in 
spirits  of  turpentine  till  it  is  of  the  consistency  of 
varnish.  Keep  this  mixture  in  a  bottle,  and,  when 
wanted  for  use,  mix  sufiicient  for  your  present  pur- 
pose with  white  lead  in  powder,  or  flake-white,  to 
give  it  a  body — but  not  too  thick,  only  so  that  it  will 
flow  freely  from  your  pencil.  Having  triced  your 
design,  go  over  those  parts  which  you  wish  to  remain 
of  the  colour  of  your  wood,  and  let  it  d?  j  ;  then  mix 


upholsterer's  companion.  101 

ivory-black,  in  very  fine  powder,  with  parchment  or 
isinglass-size,  and  go  evenly  and  smoothly  over  every 
part  of  your  work.  It  will  now  appear  wholly  black, 
or  of  whatever  colour  you  have  mixed  with  your  size. 
Let  the  whole  get  thoroughly  dry ;  then,  with  a  stiff 
brush  dipped  in  plain  spirits  of  turpentine,  rub  the 
"whole  of  the  work  well,  and  those  parts  that  have 
been  gone  over  with  the  stopping-out  mixture,  will 
come  off,  leaving  your  black  or  other  colour  perfect. 
It  will  then  appear  as  if  you  had  pricked-in  your  work, 
but  much  more  sharp,  and  will,  if  carefully  done, 
have  a  beautiful  effect.  You  have  now  nothing  more 
to  do  than  varnish  your  work,  as  in  general,  and  polish 
it  as  directed  under  the  article  Polishing,  page  113. 
In  finishing  your  work  in  the  manner  of  Indian 
japan,  you  must  not  be  sparing  of  your  varnish,  but 
give  it  eight  or  ten  coats,  so  that  it  will  bear  polishing. 

Sealing-wax  varnish. 

For  fancy  work,  this  has  of  late  years  been  much 
used,  and,  if  well  applied  and  your  wax  good,  will 
be  a  very  good  imitation  of  India  japan.  The 
method  of  making  the  varnish  or  japan  is  very 
easy,  being  simply  reducing  the  wax  to  a  coarse 
powder,  and  pouring  the  best  spirits  of  wine  on  it 


102  CABINET-MAKER    AND 

in  a  bottle,  and  letting  it  gradually  dissolve  without 
heat,  shaking  the  bottle  occasionally  till  it  is  all  dis- 
solved. A  two-ounce  stick  of  the  best  wax  will  be 
enough  for  a  quarter  of  a  pint  of  spirits. 

Recollect  that  much  depends  on  the  goodness  of 
the  sealing-wax,  and  that  you  may  vary  the  colour 
of  the  varnish  by  using  differently  coloured  w^x. 
As  this  varnish  dries  very  quickly,  it  should  not  be 
made  until  it  is  wanted  for  use. 

VARNISHING. 

Of  late  years,  varnishing  has  arrived  at  a  state 
of  perfection  which  enables  the  workman  of  the  pre- 
sent day  to  finish  his  work  in  a  style  far  superior  to 
any  thing  previously  known.  By  the  help  of  this 
useful  auxiliary,  he  can  heighten  the  beauty  of  fine 
wood,  and  give  additional  lustre  to  furniture.  The 
simplicity  of  the  process  requires  but  little  to  be 
said  on  the  subject ;  but  we  shall  endeavour,  as 
clearly  as  possible,  to  lay  down  some  rules  and 
cautions  necessary  to  be  obsen'ed,  both  in  the 
making  and  method  of  using  varnish,  that  the 
work  may  appear  as  beautiful  as  possible. 

In  the  city,  it  is  hardly  worth  while  to  make  var- 
nish, unless  in  large  quantities,  as  there  are  several 


upholsterer's  companion.  103 

shops  where  it  may  be  had  very  good,  and  at  a  fair 
price ;  but  in  the  country,  where  the  carriage  is  an  ob- 
ject, and  you  cannot  depend  upon  the  genuineness  of 
the  article,  it  is  necessary  to  be  known  by  the  prac- 
tical mechanic ;  yet,  where  it  can  be  purchased,  we 
should  recommend  it  to  be  had.  The  varnish  generally 
sold  for  varnishing  furniture  is  white  hard  varnish. 

Cautigns  respecting  the  mahing  of  varnish. 
As  heat  in  many  cases  is  necessary  to  dissolve  the 
gums  used  in  making  varnish,  the  best  way,  when 
practicable,  is  to  use  what  the  chemists  call  a  sand- 
bath,  which  is  simply  placing  the  vessel  in  which  the 
varnish  is  in  another  filled  with  sand  and  placed  on 
the  fire.  This  will  generally  be  sufiicient  to  prevent 
the  spirits  catching  fire ;  but  to  avoid  such  an  acci- 
dent, (which  not  unfrequently  happens,)  it  will  be 
best  to  take  a  vessel  sufficiently  large  that  there  shall 
be  little  danger  of  spilling  its  contents ;  indeed,  the 
vessel  should  never  be  more  than  two-thirds  filled. 
However,  a  piece  of  board  sufficiently  large  to  cover 
the  top  of  the  vessel  should  always  be  at  hand  in  case 
tne  spirits  should  take  fire  ;  as  also  a  wet  wrapper,  in 
case  it  should  be  spilt,  as  water  itself  thrown  on  would 
only  increase  the  mischief.     The  person  who  attends 


104  CABINET-MAKER    AND 

the  variiisli-pot  should  have  his  hands  covered  with 
gloves,  and,  if  they  are  made  of  leather  and  rather 
damp,  it  will  effectually  prevent  injury.  These 
cautions  should  be  well  observed,  or  shocking  per- 
sonal injury  may  result  from  their  neglect. 

General  directions  in  choosing  gums  and  spirits. 

In  purchasing  gum,  examine  it,  and  see  that  it  con- 
sists for  the  most  part  of  clear,  transparent  lumps, 
without  a  mixture  of  dirt.  Select  the  clearest  and 
lightest  pieces  for  the  most  particular  kinds  of  var- 
nish, reserving  the  others,  when  separated  from 
extraneous  matter,  for  the  coarser  varnishes.  In 
choosing  spirits  of  wine,  the  most  simple  test  is  by 
immersing  the  finger  in  it;  if  it  burns  quickly  out, 
without  burning  the  finger,  it  is  good ;  but  if,  on  the 
contrary,  it  is  long  in  burning,  and  leaves  any  damp- 
ness remaining  on  the  finger,  it  is  mixed  with  inferior 
spirit.  It  may  be  also  compared  with  other  spirit,  by 
comparing  the  weight  of  equal  quantities ;  the  lightest 
is  the  best.  The  goodness  of  spirits  of  turpentine 
may  be  likewise  ascertained  in  the  same  manner  by 
weighing  it,  and  by  noticing  the  degree  of  inflamma- 
bility it  possesses.  The  most  inflammable  is  the  best ; 
and  a  person  much  in  the  habit  of  using  it  will  tell  by 


upholsterer's    COMPANTOy.  105 

the  smell  its  good  or  bad  qualities  ;  for  good  tur- 
pentine has  a  pungent  slnell,  and  the  bad  a  very 
disagreeable  one,  and  not  so  powerful.  • 

To  varnish  a  piece  of  furniture. 

First  make  the  work  quite  clean  ;  then  fill  up  all 
knots  or  blemishes  with  cement  of  the  same  colour. 
See  that  your  brush  is  clean,  and  free  from  loose 
hairs  ;  then  dip  it  in  the  varnish,  stroke  it  along 
the  wire  raised  across  the  top  of  your  varnish-pot, 
and  give  the  work  a  thin  and  regular  coat ;  soon 
after  that,  another,  and  another,  always  taking  care 
not  to  pass  the  brush  twice  in  the  same  place.  Let 
it  stand  to  dry  in  a  moderately  warm  place,  that 
the  varnish  may  not  chill. 

AVhen  you  have  given  your  work  about  six  or  seven 
coats,  let  it  get  quite  hard,  (which  you  avIII  prove  by 
pressing  your  knuckles  on  it;  if  it  leave  a  mark, 
it  is  not  hard  enough  ;)  then,  with  the  first  three 
fingers  of  your  hand,  rub  the  varnish  till  it  chafes, 
and  proceed  over  that  part  of  the  work  you  mean  to 
polish,  in  order  to  take  out  all  the  streaks  or  partial 
lumps  made  by  the  brush  ;  then  give  it  another 
coat,  and  let  it  stand  a  day  '^r  two  to  harden. 

The  best  vessel  for  holding  varnish  is  sold  at 
colour-shops,  called  a  varnish-pan.     It  is  constructed 


lOG  CABINET-MAKER    AND 

of  tin,  with  a  false  bottom  ;  the  interval  between 
the  two  bottoms  is  filled  with  sand,  which,  being 
heated  over  the  fire,  keeps  the  varnish  fluid,  and  it 
flows  more  readily  from  the  brush.  There  is  a  tin 
handle  to  it,  and  the  false  bottom  comes  sloping 
from  one  end  to  the  other,  which  causes  the  varnish 
to  run  to  one  end.  It  has  also  a  wire  fixed  across 
the  top,  to  wipe  the  brush  against. 

To  make  the.  best  white  hard  varnish. 
Rectified  spirits  of  wine,  one  quart ;  gum  san- 
darac,  ten  ounces ;  gum  mastic,  two  ounces ;  gum 
anime,  half  an  ounce ;  dissolve  these  in  a  clean  can, 
or  bottle,  in  a  warm  place,  frequently  shaking  it. 
When  the  gum  is  dissolved,  strain  it  through  a  lawn 
sieve,  and  it  is  fit  for  use. 

To  keep  brushes  in  order. 
The  brushes  used  for  varnishing  are  either  flat  in 
tin,  or  round,  tied  firm  to  the  handle,  and  made  either 
of  camel's-hair  or  very  fine  bristles.  It  is  necessary 
to  be  very  careful  in  cleaning  them  after  being  used ; 
for,  if  laid  by  with  the  varnish  in  them,  they  are 
soon  spoiled.  Therefore,  after  using,  wash  them  well 
m  spirits  of  wine  or  turpentine,  according  to  the  na- 
ture of  your  vainish;  after  which,  you  may  wash 


i 


upholsterer's  companion.  107 

them  out  with  hot  water  and  soap,  Avhen  they  will 
be  as  good  as  new,  and  hist  a  great  while  with  care. 
The  spirits  that  are  used  for  cleaning  may  be  used 
to  mix  with  varnish  for  the  more  common  purposes, 
or  the  brushes  may  be  cleaned  merely  with  boiling 
water  and  strong  yellow  soap* 

Mastic  varnish  for  pictures  or  drawings. 
To  one  pint  of  spirits  of  turpentine  put  ten  ounces 
of  the  clearest  gum  mastic;  set  the  mixture  in  a 
sand-bath  till  it  is  all  dissolved ;  then  strain  it 
through  a  fine  sieve,  and  it  is  ready  for  use.  If  too 
thick,  thin  it  with  spirits  of  turpentine* 

Turpentine  varnish. 
To  one  pint  of  spirits  of  turpentine  add  ten 
ounces  of  clear  resin,  pounded;  put  the  mixture  in 
a  tin  can,  on  a  stove,  and  let  it  boil  for  half  an 
hour.  When  the  resin  is  all  dissolved,  let  it  cool, 
and  it  is  fit  for  use. 

Varnishes  for  violins,  S^c 
To  one  pint  of  rectified  spirits  of  wine  put  one 
ounce  and  a  half  of  gum  mastic,  and  one-third  of 
a  gill  of  turpentine  varnish ;  keep  the  mixture  in 
a  very  warm  place,  in  a  tin  can,  frequently  shaking 
it  until  dissolved ;  then  strain  it,  and  keep  it  for 


108  CABINET-M-AKER    AND 

use.     If  it   is   harder  than  you   wish,   add  a  little 
more  turpentine  varnish. 

To  vai'nish  draivings,  or  any  kind  of  imper  or 
card  loork. 

Boil  clear  parchment-cuttings  in  water,  in  a  clean 
glazed  pipkin,  till  they  produce  a  very  clear  size  ; 
strain  the  mixture,  and  keep  it  for  use. 

Give  any  work  two  coats  of  the  above  size,  passing 
quickly  over  it,  so  as  not  to  disturb  the  colours ;  pro- 
ceed as  before  directed  (page  105)  with  your  varnish. 

A  still  better  method. 

Dissolve  one  ounce  of  the  best  isinglass  in  about 
a  pint  of  water,  by  simmering  it  over  the  fire ; 
strain  it  through  fine  muslin,  and  keep  it  for  use. 

Try  the  size  on  a  piece  of  paper  moderately 
warm.  If  it  glistens,  it  is  too  thick ;  add  more 
water.  If  it  soaks  into  the  paper,  it  is  too  thin  ; 
add  or  diminish  the  isinglass  till  it  merely  dulls 
the  surface.  Then  give  your  drawing  two  or  three 
coats,  letting  it  dry  between  each,  being  careful 
(particularly  in  the  first  coat)  to  bear  very  lightly, 
on  the  brush,  (which  should  be  a  flat  tin  camel's- 
hair,)  from  which  the  size  should  flow  freely;  other- 
wise, you  may  damage  the  drawing. 


I 


upholsterer's  companion.  109 

Then  take  the  best  mastic  varnish,  and  with  it 
give  at  least  three  coats,  and  the  effect  will  answer 
your  most  sanguine  wishes. 

This  is  the  method  used  by  many  eminent  artists, 
and  is  found  superior  to  any  that  has  been  tried. 

Amher  varnish. 
To  eight  ounces  of  amber,  in  powder,  add  two  of 
gum-lac ;  melt  the  amber,  in  a  glazed  pipkin,  with 
half  a  pint  of  the  best  spirits  of  turpentine  ;  and, 
when  melted,  add  the  gum-lac.  Place  it  again  on 
the  fire,  and  keep  stirring  it  with  a  piece  of  wood 
till  all  is  dissolved  ;  then  add  one  ounce  of  the 
clearest  cold-drawn  linseed-oil ;  stir  it  well  together, 
and  strain  it  for  use. 

Oil  varnish. 

Boil  one  pint  of  the  best  linseed-oil  an  hour ;  then 
add  a  quarter  of  a  pound  of  the  clearest  resin  in 
powder  ;  stir  it  well  till  dissolved  ;  add  one  ounce  of 
spirits  of  turpentine  ;  strain  it,  and  bottle  for  use. 

This  is  a  cheap  and  good  varnish  for  sash  frames, 
or  any  work  where  economy  is  required.  It  haa 
besides,  the  property  of  bearing  hot  water  without 
being  damaged,  and  is  not  subject  to  scratch. 

10 


110  CABINET-MAKER    AND 

Copal  varnish. 
Take  spirits  of  wine  one  pint,  gum-coipal  half  an 
ounce,  and  shell-lac  one-fourth  of  an  oufice :  reduce 
the  gums  to  powder ;  put  the  spirits  in  a  jar  or 
bottle ;  add  the  gums.  Place  the  whole  in  a  warm 
place,  with  the  cork  lightly  in  the  bottle ;  shake  it 
occasionally,  and,  when  the  gums  are  quite  dissolved, 
strain,  and  bottle  for  use. 

To  make  a  colourless  copal  varnish. 
As  all  copal  is  not  fit  for  this  purpose,  to  ascer- 
tain such  pieces  as  are  good,  each  must  be  taken 
separately,  and  a  single  drop  of  pure  essential  oil  of 
rosemary,  not  altered  by  keeping,  must  be  let  fall  on 
it.  Those  pieces  that  soften  at  the  part  that  imbibes 
the  oil  are  good.  Reduce  them  to  powder,  which  sift 
through  a  very  fine  hair  sieve,  and  put  into  a  glass, 
on  the  bottom  of  which  it  must  not  lie  more  than  a 
finger's-breadth  thick ;  pour  upon  it  essence  of  rose- 
mary to  a  similar  height;  stir  the  whole  for  a  few 
minutes,  when  the  copal  will  dissolve  into  a  viscous 
fluid.  Let  it  stand  for  two  hours,  and  then  pour 
gently  on  it  two  or  three  drops  of  very  pure  alcohol, 
(spirits  of  wine,)  which  distribute  over  the  oily  mass 
^y  inclining  the  bottle  in  different  directions  wiih  a 


UPHOLSTERER'S    COMPANION.  Ill 

very  gentle  motion.  Repeat  this  operation  by  little 
and  little  till  the  incorporation  is  effected,  and  the 
varnish  reduced  to  a  proper  degree  of  fluidity.  It 
must  then  be  left  to  stand  a  few  days,  and,  when 
clear,  may  be  decanted  off  for  use. 

This  varnish,  thus  made  without  heat,  may  be 
applied  with  equal  success  to  pasteboard,  wood,  and 
metals,  and  takes  a  better  polish  than  any  other. 
It  may  be  used  on  paintings,  the  beauty  of  which 
it  greatly  heightens. 

Turpentine  copal  varnish. 

To  one  ounce  and  a  half  of  gum-copal  add  eight 
ounces  of  the  very  best  oil  of  turpentine ;  put  the  tur- 
pentine into  a  vessel,  in  a  sand-bath,  when  it  is  very 
hot :  but  be  cautious  not  to  let  it  boil.  Then  gradually 
add  the  gum-copal,  stirring  it  with  a  wooden  spatula, 
adding  fresh  gum  as  the  other  dissolves.  When  all 
is  thoroughly  incorporated,  take  the  vessel  Oii  the 
bath,  and  put  it  to  cool ;  let  it  remain  covered  over 
for  a  few  days  to  settle,  and  decant  it  clear  off. 

In  making  this  varnish,  it  frequently  happens  that 
the  gum  will  not  melt  so  readily  as  it  ought,  which,  in 
general,  is  owing  to  the  turpentine  not  being  suffi- 
ciently rectified ;  but,  when  that  is  good,  it  will  always 


112  CABINET-MAKER    AND 

succeed.    It  is  best  al">o  to  let  your  turpentine  be  ex- 
■  posed  for  some  time  in  the  sun,  in  a  corked  bottle, 
that  the  watery  particles  may  be  gradually  dissipated. 
The  bottle  should  not  be  stopped  quite  tight. 

A  varnish  which  suits  all  sorts  of  prints  and  pic- 
tures, stands  water,  and  makes  the  work  appear 
as  shining  as  glass. 

Dilute  one  quarter  of  a  pound  of  Venice  turpen- 
tine with  a  gill,  or  thereabouts,  of  spirits  of  wine. 
If  too  thick,  a  little  more  of  the  latter :  if  not 
enough,  a  little  more  of  the  former ;  so  that  you 
bring  it  to  the  consistence  of  milk.  Lay  one  coat 
of  this  on  the  right  side  of  the  print,  and,  when 
dry,  it  will  shine  like  glass.  If  it  be  not  to  your 
liking,  you  may  lay  on  another  coat. 

To  make  appear  in  gold  the  figures  of  a  print. 

After  having  laid  on  both  sides  of  the  print  one 
coat  of  the  above-described  varnish,  in  order  to 
make  it  transparent,  let  it  dry  a  little  while  ;  then, 
before  it  is  quite  so,  lay  some  gold  in  leaves  on  the 
wrong  side  of  the  print,  pressing  it  gently  on  with 
the  cotton  you  hold  in  your  hand.  By  these  means, 
all  parts  whereon  you  shall  lay  these  leaves  will  ap- 
pear Hko  true  massive  gold  on  the  right  side. 


upholsterer's  companion.  113 

When  this  is  all  thoroughly  dry,  lay  on  the  right 
side  of  it  one  coat  of  the  varnish  described  above, 
and  it  will  then  be  as  good  as  any  crown  glass. 
You  may  also  put  a  pasteboard  behind  the  print,  to 
support  it  better  in  its  frame. 

Method  of  preparing  the  composition  used  for  co- 
loured drawings  and  prints,  so  as  to  make  them 
resemble  paintings  in  oil. 

Take  of  Canada  balsam  one  ounce,  spirit  of  tur- 
pentine two  ounces  ;  mix  them  together.  Before 
this  composition  is  applied,  the  drawing  or  print 
should  be  sized  with  a  solution  of  isinglass  in  water, 
and,  when  dry,  the  varnish  should  be  applied  with 
a  camel's-hair  brush. 

POLISHING. 

The  beauty  of  cabinet-work  depends  upon  the 
care  with  which  it  is  finished.  Some  clean  off  with 
scraping  and  rubbing  with  glass-paper.  This  should 
be  done  in  all  cases ;  but  it  is  not  enough,  particu- 
larly where  the  grain  is  anyways  soft.  A  good  glass- 
paper  also  is  essential,  (directions  for  making  which 
will  be  found  in  our  miscellaneous  receipts.)  A 
polish  should  then  be  added.     But.  unless  the  var- 

10* 


114  CABINET-MAKER   AXD 

nish  for  cabinet-work  be  very  clear  and  bright,  it 
will  give  a  clingy  shade  to  all  light-coloured  woods. 
This  should,  therefore,  be  a  previous  care. 

Again,  some  workmen  polish  with  rotten  stone, 
others  with  putty-powder,  and  others  with  common 
whiting  and  water ;  but  Tripoli  will  be  found  to 
answer  the  best. 

To  polish  varnish 

Is  certainly  a  tedious  process,  and  considered  by 
many  as  a  matter  of  difficulty. 

Put  two  ounces  of  powdered  Tripoli  into  an 
earthen  pot  or  basin,  with  water  sufficient  to  cover 
it ;  then  with  a  piece  of  fine  flannel  four  times 
doubled,  laid  over  a  piece  of  cork  rubber,  proceed 
to  polish  your  varnish,  always  wetting  it  well  with 
the  Tripoli  and  water.  You  will  know  when  the 
process  is  complete  by  wiping  a  part  of  the  work 
with  a  sponge,  and  observing  whether  there  is  a  fair 
and  even  gloss.     Clean  off  with  a  bit  of  mutton-suet 

and  fine  flour. 

Caution. — Be  careful  not  to  rub  the  work  too  hard,  or  longer 
tlian  is  necessary  to  make  the  face  perfectly  smooth  and  even. 

The  French  method  of  polishing. 
'iVith   a  piece  of  fine  pumice-stone,  and  water. 


upholsterer's  companion.  115 

pass  regularly  over  the  work  with  the  grain  until  the 
rising  of  the  grain  is  down ;  then,  with  powdered 
Tripoli  and  boiled  linseed  oil,  polish  the  work  to  a 
bright  face.  This  will  be  a  very  superior  polish, 
but  it  requires  considerable  time. 

To  polish  brass  ornaments  inlaid  in  wood. 

The  brass-work  must  first  be  filed  very  even  with 
a  smooth  file  ;  then,  having  mixed  some  Tripoli  pow- 
dered very  fine,  with  linseed  oil,  with  a  rubber  made 
from  a  piece  of  old  hat  or  felt,  polish  the  work  as 
you  would  polish  varnish,  until  the  desired  effect  is 
produced. 

If  the  work  be  ebony,  or  black  rosewood,  take 
some  elder-coal,  powdered  very  fine,  and  apply  it 
dry  after  you  have  done  with  the  Tripoli.  It  will 
increase  the  beauty  of  the  polish. 

To  polish  ivory. 
If  ivory  be  polished  with  putty-powder  and  water, 
by  means  of  a  rubber  made  of  hat,  it  will  in  a  short 
time  produce  a  fine  gloss. 

To  polish  any  work  of  pearl. 
Go  over  it  with  pumice-stone,  finely  powdered, 
(first  washed  to  separate  the  impurities  and  dirt,) 
with  which  you  may  polish  it  very  smooth ;  then 


116  CABINET-MAKER    AND 

apply  putty-powder  as  directed  for  ivory,  and  it  will 
produce  a  fine  gloss  and  a  good  colour. 

To  polish  marble. 
It  sometimes  happens  that  the  cabinet-maker  has 
a  table-top  of  marble  to  remount,  which  is  scratched, 
and  requires  re-polishing.  The  following  is  the  pro- 
cess used  by  the  mason,  and  will,  therefore,  be  ac- 
ceptable in  a  work  like  the  present.  With  a  piece  of 
sandstone  with  a  very  fine  grit,  rub  your  slab  back- 
ward and  forward,  using  very  fine  sand  and  water, 
till  the  marble  appears  equally  rough,  and  not  in 
scratches  ;  next  use  a  finer  stone  and  finer  sand,  till 
its  surface  appears  equally  gone  over ;  then,  with 
fine  emery-powder  and  a  piece  of  felt  or  old  hat 
wrapped  round  a  weight,  rub  it  till  all  the  marks 
left  by  the  former  process  are  worked  out,  and  it 
appears  with  a  comparative  gloss  on  its  surface. 
Afterward,  finish  the  polish  with  putty-powder  and 
fine,  clean  rags.  As  soon  as  the  face  appears  of  a 
good  gloss,  do  not  put  any  more  powder  on  your 
rags,  but  rub  it  well,  and  in  a  short  time  it  will  ap- 
pear as  when  fresh  out  of  the  mason's  hands. 

To  polish  tortoise-shell  or  horn. 
Having  scraped  your  work  perfectly  smooth  and 


upholsterer's  companion.  117 

level,  rub  it  with  very  fine  sand-pnper  or  Dutch 
rushes  ;  repeat  the  rubbing  with  a  bit  of  felt  dipped 
in  a  very  finely  powdered  charcoal  with  water,  and, 
lastly,  with  rotten-stone  or  putty-powder ;  and  finish 
with  a  piece  of  soft  wash-leather,  damped  with  a 
little  sweet  oil. 

FRICTION  VARNISHING,    OR    FRENCH 
POLISHING. 

The  method  of  varnishing  furniture,  by  means  of 
rubbing  it  on  the  surface  of  the  wood,  is  of  compara- 
tively modern  date.  To  put  on  a  hard  face,  which 
shall  not  be  so  liable  to  scratch  as  varnish,  and  yet 
appear  equally  fine,  the  French  polish  was  intro- 
duced ;  and  it  would  be  unpardonable  in  a  work  like 
this  to  omit  a  full  direction  of  the  process,  and  also 
the  various  preparations  of  the  difl'erent  compositions 
necessary. 

All  the  polishes  are  used  much  in  the  same  way. 
A  general  description  will  therefore  be  a  sufficient 
guide  for  the  workman.  If  your  work  be  porous,  or 
the  grain  coarse,  it  will  be  necessary  to  give  it  a 
coat  of  clear-size  previous  to  your  commencing  with 
the  polish ;  and,  when  dry,  gently  go  over  it  with 
very  fine  glass-paper.  The  size  will  fill  up  the  pores, 
and  prevent  the  waste  of  the  polish,  by  being  ab- 


118  CABINET-MAKER    AND 

sorbet!  into  the  wood,  and  be  also  a  saving  of  con- 
siderable time  in  the  operation. 

Make  a  wad  with  a  piece  of  coarse  flannel  or 
drugget,  by  rolling  it  round  and  round,  over  which, 
on  the  side  meant  to  polish  with,  put  a  very  fine  linen 
rag  several  times  doubled,  to  be  as  soft  as  possible ; 
put  the  wad  or  cushion  to  the  mouth  of  the  bottle 
containing  the  preparation,  (or  polish,)  and  shake  it, 
which  will  damp  the  rag  sufficiently ;  then  proceed 
to  rub  your  work  in  a  circular  direction,  observing 
not  to  do  more  than  about  a  square  foot  at  a  time ; 
rub  it  lightly  till  the  whole  surface  is  covered ;  repeat 
this  three  or  four  times,  according  to  the  texture  of 
the  wood.  Each  coat  is  to  be  rubbed  until  the  rag 
appears  dry ;  and  be  careful  not  to  put  too  much  on 
the  rag  at  a  time,  and  you  will  have  a  very  beautiful 
and  lasting  polish.  Be  also  very  particular  in  letting 
your  rags  be  very  clean  and  soft,  as  the  polish  depends, 
in  a  great  measure,  on  the  care  you  take  in  keeping 
it  clean  and  free  from  dust  during  the  operation. 

The  true  French  polish. 

To  one  pint  of  spirits  of  wine  add  a  quarter  of  an 
ounce  of  gum-copal,  a  quarter  of  an  ounce  of  gum- 
Arabic,  and  one  ounce  of  shell-lac. 

Let  your  gums  be  well  bruised,  and  sifted  through 


upholsterer's  companion.  119 

a  piece  of  muslin.  Put  the  spirits  and  the  gums 
together  in  a  vessel  that  can  be  closely  corked ; 
place  them  near  a  warm  stove,  and  frequently  shake 
them.  In  two  or  three  days  they  will  be  dissolved. 
Strain  the  mixture  through  a  piece  of  muslin,  and 
keep  it  tight  corked  for  use. 

Another  French  polish. 

Take  one  ounce  each  of  mastic,  sandaric,  seed-lac, 
shell-lac,  gum-lac,  and  gum-Arabic ;  reduce  them  to 
powder,  and  add  a  quarter  of  an  ounce  of  virgin- 
wax;  put  the  whole  into  a  bottle,  with  one  quart  of 
rectified  spirits  of  wine ;  let  it  stand  twelve  hours, 
and  it  will  be  fit  for  use. 

To  apply  it,  make  a  ball  of  cloth  and  put  on  it 
occasionally  a  little  of  the  polish ;  then  wrap  the 
ball  in  a  piece  of  calico,  which  slightly  touch  with 
linseed  oil.  Rub  the  furniture  hard  with  a  circular 
motion,  until  a  gloss  is  produced ;  finish  in  the  same 
manner,  but,  instead  of  all  polish,  use  one-third 
polish  to  two-thirds  spirits  of  wine. 

Or,  put  into  a  glass  bottle  one  ounce  of  gum-lac, 
two  drachms  of  mastic  in  drops,  four  drachms  of 
sandaric,  three  ounces  of  shell-lac,  and  half  an 
ounce  of  gum-dragon ;  reduce  the  whole  to  powder ; 
add  to  it  a  piece  of  camphor  the  size  of  a  nut,  and 


120  CABINET-MAKER   AND 

pour  on  it  eight  ounces  of  rectified  spirits  of  wine. 
Stop  the  bottle  close,  but  take  care,  when  the  gums 
are  dissolving,  that  it  is  not  more  than  half  full. 
It  may  be  placed  near  a  gentle  fire,  or  on  a  German 
stove ;  but  a  bath  of  hot  sand  is  preferable,  as 
avoiding  all  danger,  the  compound  being  so  very 
apt  to  catch  fire.     Apply  it  as  before  directed. 

An  improved  polish. 

To  a  pint  of  spirits  of  wine  add,  in  fine  powder, 
one  ounce  of  seed-lac,  two  drachms  of  gum-guaiacum, 
two  drachms  of  dragon's-blood,  and  two  drachms  of 
gum-mastic  ;  expose  them,  in  a  vessel  stopped  close, 
to  a  moderate  heat  for  three  hours,  until  you  find 
the  gums  dissolved ;  strain  the  whole  into  a  bottle 
for  use,  with  a  quarter  of  a  gill  of  the  best  linseed 
oil,  to  be  shaken  up  well  with  it. 

This  polish  is  more  particularly  intended  for  dark- 
coloured  woods — for  it  is  apt  to  give  a  tinge  to  light 
ones,  as  satin-wood,  or  air-wood,  &c. — owing  to  the 
admixture  of  the  dragon's-blood,  which  gives  it  a  red 
appearance. 

Water-proof  polish. 

Take  a  pint  of  spirits  of  wine,  two  ounces  of 
^um-benzoin,  a  quartei  of  an  ounce  of  gum-san- 
daric,  and  a  quarter  of  an  ounce  of  gum-aniuic ; 


upholsterer's  companion.  ]2l 

these  must  be  put  into  a  stopped  bottle,  and  placed 
either  in  a  sand-bath  or  in  hot  water  till  dissolved ; 
then  strain  the  mixture,  and,  after  adding  about  a 
quarter  of  a  gill  of  the  best  clear  poppy  oil,  shake 
it  well  up,  and  put  it  by  for  use. 
Bright  polish. 

A  pint  of  spirits  of  wine  to  two  ounces  of  gum- 
benzoin  and  half  an  ounce  of  gum-sandarac,  put 
in  a  glass  bottle  corked,  and  placed  in  a  sand-bath 
or  hot  water  until  you  find  all  the  gum  dissolved, 
will  make  a  beautiful  clear  polish  for  Tunbridge- 
ware  goods,  tea-caddies,  &c.  It  must  be  shaken 
from  time  to  time,  and,  when  all  dissolved,  strained 
through  a  fine  muslin  sieve,  and  bottled  for  use. 
Prepared  spirits. 

This  preparation  is  useful  for  finishing  after  any 
of  the  foregoing  receipts,  as  it  adds  to  the  lustre 
and  durability,  as  well  as  removes  every  defect,  of 
the  other  polishes  ;  and  it  gives  the  surface  a  most 
brilliant  appearance. 

Half  a  pint  of  the  very  best  rectified  spirits  of 
wine,  two  drachms  of  shell-lac,  and  two  drachms  of 
gum-benzoin.  Put  these  ingredients  in  a  bottle, 
and  keep  it  in  a  warm  place  till  the  gum  is  all  dis- 
solved, shaking  it  frequently;  when  cold,  add  two 
11 


122  CABINET-MAKER   AND 

tea-spoonfuls    of  the   best   clear  white  poppy  oil ; 
shake  them  well  together,  and  it  is  fit  for  use. 

This  preparation  is  used  in  the  same  manner  as  the 
foregoing  polishes  ;  but,  in  order  to  remove  all  dull 
places,  you  may  increase  the  pressure  in  rubbing. 

Strong  polish. 

To  be  used  in  the  carved  parts  of  cabinet-work 
with  a  brush,  as  in  standards,  pillars,  claws,  &a 

Dissolve  two  ounces  of  seed-lac  and  two  ounces 
of  white  resin  in  one  pint  of  spirits  of  wine. 

This  varnish  or  polish  must  be  laid  on  warm, 
and,  if  the  work  can  be  warmed  also,  it  will  be  so 
much  the  better ;  at  any  rate,  moisture  and  damp- 
ness must  be  avoided. 

Directions  for  cleaning  and  polishing  old  furniture. 
Take  a  quart  of  stale  beer  or  vinegar,  put  a 
handful  of  common  salt  and  a  table-spoonful  of 
spirits  of  salt  into  it,  and  boil  it  for  a  quarter  of 
an  hour ;  you  may  keep  it  in  a  bottle,  and  warm  it 
when  wanted  for  use.  Having  previously  washed 
your  furniture  with  soft  hot  water,  to  get  the  dirt 
off,  wash  it  carefully  with  the  above  mixture;  then 
polish,  according  to  the  directions,  with  any  of  the 
foregoing  polishes. 


upholsterer's  companion.  123 

PART  V. 

OP  GLUES,  CEMENTS,  WAXES,  AND  COMPOSITIONS  FOR  FILLINQ 
UP  AND  ORNAMENTING  CABINET  AND  UPHOLSTERY  WORK  ; 
AND    MISCELLANEOUS    RECEIPTS. 


CEMENTS. 


To  make  mahogany-coloured  cement. 
Melt  two  ounces  of  beeswax  and  half  an  ounce  of 
resin  together ;  then  add  half  an  ounce  of  Indian  red, 
and  a  small  quantity  of  yellow  ochre,  to  bring  the  ce- 
ment to  the  desired  colour ;  keep.it  in  a  pipkin  for  use. 

Portable  glue,  or  hank-note  cement. 

Boil  one  pound  of  the  best  glue,  strain  it  very 
clear  ;  boil  also  four  ounces  of  isinglass ;  put  it 
into  a  double  glue-pot,  with  half  a  pound  of  fine 
brown  sugar,  and  boil  it  pretty  thick ;  then  pour  it 
into  plates  or  moulds.  When  cold,  you  may  cut 
and  dry  them  for  the  pocket. 

This  glue  is  very  useful  to  draughtsmen,  archi- 
tects, &c.,  as  it  immediately  dilutes  in  warm  water, 


124  CABINliT  MAKER    AND 

and  fastens  the  paper  without  the  process  of  damp- 
ing :  or,  it  may  be  used  by  softening  it  in  the 
mouth,  and  applying  it  to  the  paper. 

Cement  for  turners. 

Melt  together  beeswax  one  ounce,  resin  half  an 
ounce,  and  pitch  half  an  ounce  ;  stir  in  the  mixture 
some  very  fine  brickdust  to  give  it  a  body.  If  too 
soft,  add  more  resin  ;  if  too  hard,  more  wax.  When 
nearly  cold,  make  it  up  into  cakes  or  rolls,  which 
keep  for  use. 

This  -will  be  found  very  useful  for  fastening  any 
piece  of  wood  on  your  chuck,  which  is  done  by  ap- 
plying your  roller  of  cement  to  the  chuck,  and  it 
will  adhere  with  sufficient  force. 

A  cement  for  broken  glass. 
Steep  one  ounce  of  isinglass  in  half  a  pint  of 
spirits  of  wine  for  twenty-four  hours  ;  then  let  it 
dissolve  over  a  slow  fire,  (always  keeping  it  covered, 
or  the  spirit  will  evaporate  ;)  now  well  bruise  six 
cloves  of  garlic  in  a  mortar,  put. them  in  a  linen 
cloth,  and  squeeze  the  juice  into  the  isinglass ;  mix 
all  well  together,  and  keep  it  for  use.  It  is  excel- 
lent to  join  glass  ornaments,  &c. 


upholsterer's  companion.  125 

A  cement  to  stop  flaws  or  cracks  in  tvood  of  any 
colour. 
Put  any  quantity  of  fine  sawdust  of  the  same 
wood  your  work  is  made  with  into  an  earthen-pan, 
and  pour  boiling  water  on  it,  stir  it  well,  and  let  it 
remain  for  a  week  or  ten  days,  occasionally  stirring 
it;  then  boil  it  for  some  time,  and  it  will  be  of  the 
consistence  of  pulp  or  paste;  put  it  into  a  coarse 
cloth,  and  squeeze  all  the  moisture  from  it.  Keep 
for  use,  and,  when  wanted,  mix  a  sufficient  quantity 
of  thin  glue  to  make  it  into  a  paste ;  rub  it  well 
into  the  cracks,  or  fill  up  the  holes  in  your  work 
with  it.  When  quite  hard  and  dry,  clean  your 
Tork  oflf,  and,  if  carefully  done,  you  will  scarcely 
discern  the  imperfection. 

A  cement  for  joining  China,  Sj-c. 
Beat  the  whites  of  eggs  well  to  a  froth,  let  them 
settle,  add  soft  grated  or  sliced  cheese  and  quick- 
lime ;  beat  them  well  together,  and  apply  a  little  to 
the  broken  edges.  This  cement  will  endure  both 
the  fire  and  water. 

Another  cement. 
Pound  half  an  ounce  of  resin  and  four  ounces  of 

gum-mastic;  put  them  into  a  pipkin  on  the  fire  to 
11* 


126  CABINET-MAKER    AXD 

melt ;  stir  them  well.  To  this  aild  about  half  an 
ounce  of  finelj-powdered  glass,  and  half  an  ounce 
of  quicklime  ;  stir  the  whole  well  together.  When 
nearly  cold,  form  it  into  sticks,  on  a  stone,  in  the 
same  manner  as  sticks  of  sealing-wax  are  formed. 
When  you  want  to  cement  any  article,  heat  the 
broken  edges  sufficiently  to  melt  your  cement,  which 
rub  thinly  on  both  edges  ;  bring  them  accurately 
together ;  press  them  close,  and  let  them  cool.  If 
this  be  carefully  done,  your  Avork  will  sooner  break 
in  any  other  part  than  where  the  cement  has  been 
applied. 

A  strong  glue  that  will  resist  moisture. 
Dissolve  gum-sandarac  and  mastic,  of  each  a 
quarter  of  an  ounce,  in  a  quarter  of  a  pint  of 
spirits  of  wine,  to  which  add  a  quarter  of  an  ounce 
of  clear  turpentine :  now  take  strong  glue,  or  that 
in  which  isinglass  has  been  dissolved  ;  then,  put- 
ting the  gums  into  a  double  glue-pot,  add  by 
degrees  the  glue,  constantly  stirring  it  over  the 
fire  till  the  whole  is  well  incorporated  :  strain  it 
through  a  cloth,  and  it  is  ready  for  use.  You 
may  now  return  it  into  the  glue-pot,  and  add  half 
an  ounce  of  very  finely-powdered  glass;  use  it  quite 


upholsierer's  companion.  127 

hot.  If  you  join  two  pieces  of  wood  together  with 
it,  you  may,  when  perfectly  hard  and  dry,  immerse 
it  in  water ;  and  the  joint  will  not  separate. 

Another  glue  for  the  same  purpose. 
To  two  quarts  of  skimmed  milk  add  half  a  pound 
of  the  best  glue ;  melt  them  together,  taking  care 
they  do  not  boil  over,  and  you  will  have  a  very 
strong  glue,  which  will  resist  damp  or  moisture. 

To  make  paste  for  laying  cloth  or  leather  on  table- 
tops. 
To  a  pint  of  the  best  wheaten  flour  add  resin, 
very  finely  powdered,  about  two  large  spoonfuls ; 
of  alum,  one  spoonful,  in  powder ;  mix  them  all 
well  together,  put  them  into  a  pan,  and  add  by  de- 
grees soft  or  rain  water,  carefully  stirring  it  till  it 
is  of  the  consistence  of  thinnish  cream ;  put  it  into 
a  saucepan  over  a  clear  fire,  keeping  it  constantly 
stirred,  that  it  may  not  get  lumpy.  When  it  is  of  a 
stiff  consistence,  so  that  the  spoon  will  stand  upright 
in  it,  it  is  done  enough.  Be  careful  to  stir  it  Avell 
from  the  bottom,  for  it  will  burn  if  not  well  attended 
to.  Empty  it  out  into  a  pan  and  cover  it  over  till 
cold,  to  prevent  a  skin  forming  on  the  top,  which 
would  make  it  lumpy. 


128  CAIIXET-MAKER    ANT) 

This  paste  is  very  superior  for  the  purpose,  and 
adhesive.  To  use  it  for  cloth  or  baize,  spread  the 
paste  evenly  and  smoothly  on  the  top  of  the  table, 
and  lay  your  cloth  on  it,  pressing  and  smoothing 
it  with  a  flat  piece  of  wood ;  let  it  remain  till  dry ; 
then  trim  the  edges  close  to  the  cross-banding.  If 
you  cut  it  close  at  first,  it  will,  in  drying,  shrink 
and  look  bad  where  it  meets  the  banding  all  round. 
If  used  for  leather,  the  leather  must  be  first  pre- 
viously damped,  and  then  the  paste  spread  over  it ; 
then  lay  it  on  the  table,  and  rub  it  smooth  and 
level  with  a  linen  cloth,  and  cut  the  edges  close  to 
the  banding  with  a  short  knife.  Some  lay  their 
table-cover  with  glue  instead  of  paste,  and  for 
cloth  perhaps  it  is  the  best  method ;  but  for  leather 
it  is  not  proper,  as  glue  is  apt  to  run  through.  In 
using  it  for  cloth,  great  care  must  be  taken  that 
your  glue  is  not  too  thin,  and  that  you  rub  the 
cloth  well  down  with  a  thick  piece  of  wood  made 
hot  at  the  fire,  f  )r  the  glue  soon  chills.  You  may, 
by  this  method,  :ut  off  the  edges  close  to  the  border 
at  once. 


upholsterer's  companion.  129 


MISCELLANEOUS   RECEIPTS. 

Glass  paper. 

Take  any  quantity  of  broken  window-glass,  (that 
which  has  rather  a  green  appearance  on  the  edge 
is  best ;)  pound  it  in  an  iron  mortar ;  then  have 
two  or  three  sieves,  of  different  degrees  of  fineness, 
ready  for  use  when  wanted.  Take  any  good,  tough 
paper,  (fine  cartridge  is  the  best,)  level  the  knobs 
and  bumps  on  both  sides  with  pumice-stone,  tack 
it  at  each  corner  on  a  board,  and,  with  good,  clear 
glue,  diluted  with  about  one-third  more  water  than 
is  used  generally  for  wood-work,  go  quickly  over  the 
paper,  taking  care  to  spread  it  even  with  your  brush ; 
then,  having  your  sieve  ready,  sift  the  pounded 
glass  over  it  lightly,  yet  so  as  to  cover  it  in  every 
part;  let  it  remain  till  the  glue  is  set;  ♦ake  it  from 
the  board,  shake  off  the  superfluous  glass  into  the 
sieve,  and  hang  it  in  the  shade  to  dry  In  two  or 
three  days  it  will  be  fit  for  use. 

This  paper  will  be  much  better  than  any  you  can 
buy,  sand  being  frequently  mixed  with  the  glasa, 
and  coloured,  to  deceive  the  purchaser. 


130  •  CABINET-MAKER    AND 

To  clean  the  face  of  soft  maliogany  or  other 
porous  ivood. 

After  scraping  and  sand-papering  in  the  usual 
manner,  take  a  sponge  and  well  wet  the  surface,  to 
raise  the  grain ;  then,  with  a  piece  of  fine  pumice- 
stone,  free  from  stony  particles  and  cut  the  Avay 
of  the  fibres,  rub  the  wood  in  the  direction  of  the 
grain,  keeping  it  moist  with  water.  Let  the  work 
dry ;  then,  if  you  wet  it  again,  you  will  find  the 
grain  much  smoother,  and  it  will  not  raise  so  much. 
Repeat  the  process,  and  you  will  find  the  surface 
perfectly  smooth,  and  the  texture  of  the  wood  much 
hardened.  By  this  means,  common  soft  Honduras 
mahogany  Avill  have  a  face  equal  to  fine  Ilispaniola. 

If  this  does  not  succeed  to  your  satisfaction,  you 
may  improve  the  surface  by  using  the  pumice-stone 
with  cold-drawn  linseed  oil,  in  the  same  manner  as 
you  proceeded  with  water.  This  will  be  found  to  give 
a  most  beautiful  as  well  as  a  durable  face  to  your 
work,  which  may  then  be  polished  or  varnished. 

Another  way  to  clean  and  finish  mahogany  work. 

Scrape  and  sand-paper  your  w^ork  as  smooth  as 
possible ;  go  over  every  part  with  a  brush  dipped  in 


upholsterer's  companion.  131 

furniture-oil,  and  let  it  remain  all  night ;  have  ready 
the  poTvder  of  the  finest  red  brick,  which  tie  up  in  a 
cotton  stocking,  and  sift  equally  over  the  work  the 
next  morning,  and,  with  a  leaden  or  iron  weight  in 
a  piece  of  carpet,  rub  your  work  well  the  way  of  the 
grain,  backwardand  forward,  till  it  has  a  good  gloss. 
If  not  sufficient,  or  if  the  grain  appears  any  way 
rough,  repeat  the  process.  Be  careful  not  to  put 
too  much  of  the  brick-dust,  as  it  should  not  be  rubbed 
dry,  but  rather  as  a  paste  upon  the  cloth.  When 
the  surface  is  perfectly  smooth,  clean  your  work  off 
with  a  rubber  of  carpet  and  fine  mahogany  saw- 
dust. This  process  will  give  a  good  gloss  and  face 
to  3'our  work,  and  make  a  surface  that  will  improve 
by  wear.  Indeed,  by  this  process,  soft  Honduras 
mahogany  will  have  the  appearance  of  Spanish. 

To  darken  light  mahogany. 

In  repairing  old  furniture,  it  frequently  happens 
that  we  cannot  match  the  old  wood.  Therefore, 
after  the  repairs  are  completed,  to  prevent  the 
pieces  introduced  looking  like  patches,  wash  them 
with  soap-lees,  or  dissolve  quicklime  in  watei,  and 
use  in  the  same  manner ;  but  be  careful  not  to  let 
either  be  too  strong,  or  it  will  make  the  wood  too 


132  CABINET-MAKER    AND 

dark,  it  is  lest,  therefore,  to  use  it  rather  weak  a< 
first,  and,  if  not  dark  .enough,  repeat  the  process 
till  the  wood  is  sufficiently  darkened. 

To  cut  good  steel  scrapers. 

Part  of  the  blade  of  a  broken  saw  makes  the  best 
scrapers ;  but,  as  it  is  hard,  it  is  very  difficult  to  cut 
it  into  the  required  form.  The  best  and  most  expe- 
ditious way  is  to  mark  it  out  to  the  size  wanted,  and 
then  to  place  the  blade  or  steel  plate  in  a  vice  whose 
chaps  shut  very  close,  placing  the  mark  even  with 
the  face  of  the  vice,  and  the  part  to  be  cut  to  waste 
above  the  vice.  Then  with  a  cold-chisel,  or  a  com- 
mon steel-firmer  that  has  its  basil  broken  off",  holding 
it  close  to  the  vice  and  rather  inclined  upwards,  be- 
gin at  one  end  of  the  steel  plate,  and  with  a  sharp 
blow  of  the  hammer  it  will  cut  it.  Keep  going  on 
by  degrees,  and  you  will  with  ease  cut  it  to  the  shape 
required;  then  grind  the  edges  of  your  scraper  level, 
and  finish  by  rubbing  it  on  your  Turkey-stone. 

To  sharpen  and  set  a  saw. 

First,  run  a  file  along  the  edge  of  the  teeth  till 
you  see  them  range  in  a  direct  line ;  then  lay  the 
blade  on  a  smooth  piece  of  lead,  or  on  the  end  of 


upholsterer's  companion.  133 

your  trying-plane,  and  with  a  square  steel  punch 
give  a  gentle  tap  en  it  with  a  hammer  ;  after  placing 
it  on  one  of  the  teeth,  do  the  same  with  every  alter- 
nate tooth.  Reverse  the  saw  and  punch  the  teeth  on 
the  other  side,  and  look  down  your  saw  that  the  teeth 
are  all  equally  set.  Then  begin  with  your  file  at  that 
part  of  your  saw  nearest  the  handle.  To  sharpen  or 
file  the  teeth  to  a  good  point,  hold  your  file  so  that  it 
makes  an  angle  with  the  saw-blade  of  about  thirty 
degrees,  or  two-thirds  that  of  a  mitre  angle,  observing 
to  shift  the  file  for  every  alternate  tooth  in  an  oppo- 
site inclination,  bringing  each  tooth  to  a  very  sharp 
point,  and  keeping  the  upper  edge  of  your  file  very 
nearly  horizontal.  Every  tooth  will  then  represent 
a  sharp  chisel,  and  cut  as  it  goes  without  tearing. 

To  take  bruises  out  of  furniture. 
Wet  the  part  with  warm  water ;  double  a  piece  of 
brown  paper  five  or  six  times,  soak  it,  and  lay  it 
on  the  place;  apply  on  that  a  hot  flat-iron  till  the 
moisture  is  evaporated.  If  the  bruise  be  not  gone, 
repeat  the  process.  After  two  or  thi  ee  applications, 
the  dent  or  bruise  will  be  raised  level  with  the 
surface.  If  the  bruise  be  small,  merely  soak  it  with 
warm  water,  and  apply  a  red-hot  poker  very  near 

12 


134  CABINET-jnKER   AND 

the  surface ;  keep  it  continually  wet,  and  in  a  few 
minutes  the  bruise  ■will  disappear. 

To  make  anti-attrition. 
Accorditig  to  the  specification  of  the  patent, 
this  mixture  is  made  of  one  part  of  plumbago  or 
bkcklead  ground  very  fine,  and  four  parts  of 
hog's  lard  or  grease,  mixed  well  together.  It 
prevents  the  eflfects  of  friction  much  better  than 
oil  or  other  grease,  and  is  very  useful  to  the 
turner,  and  will  be  found  to  make  the  lathe  work 
much  easier,  as  well  as  to  be  a  great  saving  in  oil, 
which  with  constant  use  grows  stiff,  and  sensibly 
impedes  the  motion ;  while  this  preparation,  once 
applied,  will  last  a  long  time  without  requiring 
renewal. 

Polish  for  turners'  work. 

Dissolve  sandarac  in  spirits  of  wine  in  the  pro- 
portion of  one  ounce  of  sandarac  to  half  a  pint  of 
spirits  ;  next  shave  beeswax  one  ounce,  and  dissolve 
it  in  a  sufiicient  quantity  of  spirits  of  turpentine  to 
make  it  into  a  paste ;  add  the  former  mixture  by 
degrees  to  it ;  then  with  a  woollen  cloth  apply  it  to 
the  work  while  it  is  in  motion  in  the  lathe,  and 
with  a  soft  linen  rag  polish  it.  It  will  appear  as  if 
highly  varnished. 


upholsterer's  companion.  135 

To  clean  and  restore  the  elasticity  of  cane  chair 
bottoms,  couches,  ^c. 

Turn  up  the  chair  bottom,  and  with  hot  water 
and  a  sponge  wash  the  cane-work,  so  that  it  may 
be  thoroughly  soaked.  Should  it  be  dirty,  use  a 
little  soap.  Let  it  dry  in  the  air,  and  it  will  be  as 
tight  and  firm  as  Avhen  new,  provided  the  cane  be 
not  broken. 

To  clean  silver  furniture. 
Lay  the  furniture,  piece  by  piece,  upon  a  char- 
coal fire,  and,  when  they  are  just  red,  take  them 
off  and  boil  them  in  tartar  and  water,  and  your 
silver  will  have  the  same  beauty  as  when  first 
made. 

To  clean  marble,  sienna,  jasper,  porphyry,  or 
scagliola. 

Mix  the  strongest  soap-lees  with  quicklime,  to 
the  consistency  of  milk ;  let  it  lay  on  the  stone, 
&c.,  for  twenty-four  hours ;  then  clean  it  off,  and 
wash  with  soap  and  water,  and  it  will  appear  as 
new. 

This  may  be  improved  by  rubbing  or  polishing 
it  afterward  with  fine  putty-powder  and  olive  oil. 


136  CABINET-MAKER    AND 

To  take  ink-spots  out  of  maliogany. 

Apply  spirits  of  salts  with  a  rag  until  the  spots 
disappear,  and  immediately  afterward  wash  with 
clear  water. 

Another  method. 

To  half  a  pint  of  soft  water  put  an  ounce  of 
oxalic  acid  and  half  an  ounce  of  butter  of  anti- 
mony ;  shake  it  well,  and  when  dissolved  it  will  be 
very  useful  in  extracting  stains  from  mahogany,  as 
well  as  ink,  if  not  of  too  long  standing. 

To  make  furniture  paste. 
Scrape  two  ounces  of  beeswax  into  a  pot  or  bas'in  ; 
then  add  as  much  spirits  of  turpentine  as  will  moisten 
it  through.  At  the  same  time,  powder  an  eighth 
part  of  an  ounce  of  resin,  and  add  to  it,  when  dis- 
solved to  the  consistence  of  paste,  as  much  Indian 
red  as  will  bring  it  to  a  deep  mahogany  colour. 
Stir  it  up,  and  it  will  be  fit  for  use. 

Another  method. 
Scrape  two  ounces  of  beeswax  as  before  ;  then 
to  half  a  pint  of  spirits  of  turpentine,  in  a  clean 
glazed  pipkin,  add  half  an  ounce  of  alkanet-root ; 
cover  it  close,  and  put  it  over  a  slow  fire,  attending 
it   carefully,    that   it   may   not   boil   or   catch   fire. 


J 


upholsterer's  companion.  137 

When  you  perceive  the  colour  to  be  drawn  from  the 
root,  by  the  liquid  being  of  a  deep  red,  add  as 
much  of  it  to  the  wax  as  will  moisten  it  through ; 
at  the  same  time,  add  the  eighth  part  of  an  ounce 
of  powdered  resin ;  cover  it  close,  and  let  it  stand 
si^  hours,  and  it  will  be  fit  for  use. 

To  make  furniture  oil. 
Put  linseed-oil  into  a  glazed  pipkin,  with  as  much 
alkanet-root  as  it  will  cover ;  let  it  boil  gently  till 
it  becomes  of  a  strong  red  colour;  let  it  cool,  and 
it  will  be  fit  for  use. 

Another  method. 
Boil  together  cold-drawn  linseed  oil,  and  as  much 
alkanet-root  as  it  will  cover,  and  to  every  pint  of 
oil  add  one  ounce  of  the  best  rose  pink.  When 
all  the  colour  is  extracted,  strain  it  off",  and  to 
every  pint  add  half  a  gill  of  spirits  of  turpentine. 
This  will  be  a  very  superior  composition  for  soft 
and  light  mahogany. 

Black  ivax 
Is  made   of  one  ounce  of  beeswax  to  half  an 
ounce  of  Burgundy  pitch  ;  melt  them  together^  and 
add  one  ounce  and  a  half  of  ivory-black,  ground 
very  fine,  and  dried. 

12* 


138  CABINET-MAKER    AND 

Green  wax. 
Melt  one  ounce  of  beeswax,  and  add  half  an 
ounce  of  verditer ;  let  the  pipkin  be  large  enough, 
as  the  wax  will  immediately  boil  up.  Stir  it  well, 
and  add  the  eighth  part  of  an  ounce  of  resin,  when 
it  will  be  sufficiently  hard  and  fit  for  use. 

To  take  out  spots  of  oil  or  grease  from  cloth. 

Drop  on  the  spot  some  oil  of  tartar,  or  salt  of 
wormwood,  which  has  been  left  in  a  damp  place  till 
it  turns  into  a  fluid;  then  immediately  wash  the 
place  with  lukewarm  soft  water,  and  then  with  cold 
water,  and  the  spot  will  disappear. 

This  will  be  found  very  useful,  as  it  frequently 
happens  that  the  cloth  of  the  card  tables,  and  the 
inside  flaps  of  secretaries,  are  spotted  and  greasy. 
By  proceeding  as  above,  every  spot  of  grease  will 
be  completely  taken  out. 

To  make  parchment  transparent. 

Soak  a  thin  skin  of  parchment  in  a  strong  ley  of 
wood  ashes,  often  wringing  it  out  till  you  find  it 
becomes  transparent ;  then  strain  it  on  a  frame, 
and  let  dry. 

This  will  be  much  improved  if,  after  it  is  dry, 
you  give  it  a  coat,  on  both  sides,  of  clear  mastic 
varnish,  diluted  with  spirits  of  turpentine. 


upholsterer's  companion.  139 

To  take  out  wax  spots  from  cloth  or  silk. 
Put  on  each  spot  a  piece  of  soft  soap,  and  place 
it  in  the  sun,  or  gently  warm  it  before  the  fire ;  let 
it  remain  for  some  time ;  then  wash  off  with  soft 
water,  and  the  spot  will  have  disappeared. 

Another  method. 
Drop  spirits  of  turpentine  or  spirits  of  wine  on 
the  spot ;  then  with  a  sponge  rub  it  gently ;  repeat 
it  till  the  spot  disappears. 

To  soften  ivory. 
Slice  a  quarter  of  a  pound  of  mandrake,  and  put 
it  into  half  a  pint  of  the  best  vinegar,  into  which 
put  your  ivory ;  let  the  whole  stand  in  a  warm  place 
for  forty-eight  hours,  when  you  will  be  able  to  bend 
the  ivory  to  your  mind. 

To  bleach  ivory. 
Take  a  double  handful  of  lime,  and  slake  it  by 
sprinkling  it  with  water ;  then  add  three  pints  of 
water,  and  stir  the  whole  together ;  let  it  settle  ten 
minutes,  and  pour  the  water  into  a  pan  for  your 
purpose.  Then  take  your  ivory,  and  steep  it  in  the 
lime-water  for  twenty-four  hours,  after  which  boil  it 
in  a  strong  alum-water  one  hour,  and  dry  it  in  the  air. 


140  CABINET-MAKER   AND 

To  solder  or  weld  tortoise-shell  or  horn. 

Provide  yourself  with  a  pair  of  pincers  or  tongs, 
so  constructed  that  you  can  reach  four  inches  be- 
yond the  rivet ;  then  have  your  tortoise-shell  filed 
clean  to  a  lap-joint,  carefully  observing  that  there 
is  no  grease  about  it ;  wet  the  joint  with  water,  ap- 
ply the  pincers  hot,  following  them  with  water,  and 
you  will  find  the  shell  to  be  joined  as  if  it  were  one 
piece. 

To  clean  carpets  or  tapestry. 

Your  carpet  being  first  well  beaten  and  freed  from 
dust,  tack  it  down  to  the  floor;  then  mix  half  a  pint 
of  bullock's-gall  with  two  gallons  of  soft  water;  scrub 
it  well  with  soap  and  the  gall-mixture  ;  let  it  remain 
till  quite  dry,  and  it  will  be  perfectly  cleansed,  and 
look  like  new,  as  the  colours  will  be  restored  to  their 
original  brightness.  The  brush  you  use  must  not  be 
too  hard,  but  rather  long  in  the  hair,  or  you  will 
rub  up  the  nap  and  damage  the  article. 

To  make  composition  ornaments  for  picture-frames 
or  other  purposes. 

Mix  as  much  whiting  as  you  think  will  be  required 
for  present  use  with  thinnish  glue,  to  the  consistence 


upholsterer's  companion.  141 

of  putty  ;  and,  having  a  mould  ready,  rub  it  well  all 
over  with  sweet  oil,  and  press  your  composition  in 
it ;  take  it  out,  and  you  will  have  a  good  impression, 
which  you  may  set  by  to  dry ;  or,  if  wanted,  you 
may,  before  it  gets  hard,  apply  it  to  your  work  with 
thick  glue,  and  bend  it  into  the  form  required. 

If  you  have  not  a  mould  at  hand,  you  may  make 
one  of  the  composition,  from  any  leaf  or  pattern 
you  may  wish  to  copy,  and,  letting  it  get  hard,  use 
it  as  a  mould,  first  oiling  it  well. 

You  will  find  this  composition  of  great  use  for 
copying  any  pattern  from  good  moulds. 

To  clean  pictures. 

Having  taken  the  picture  out  of  the  frame,  take 
a  clean  towel,  and,  making  it  quite  wet,  lay  it  on 
the  face  of  your  picture,  sprinkling  it  from  time  to 
time  with  clean,  soft  water ;  let  it  remain  wet  for 
two  or  three  days ;  take  the  cloth  ofi",  and  renew  it 
with  a  fresh  one.  After  wiping  your  picture  with  a 
clean  wet  sponge,  repeat  the  process  till  you  find  all 
the  dirt  soaked  out  of  your  picture  ;  then  wash  it 
with  a  soft  sponge,  and  let  it  get  quite  dry ;  rub  it 
with  some  clear  nut  or  linseed  oil,  and  it  will  look 
as  well  as  when  freshly  done. 


142  CABINET-MAKER    AND 

Another  metJiod. 
Put  into  two  quarts  of  strong  ley  -a  quarter  of  a 
pound  of  Genoa  soap,  rasped  very  fine,  with  a  pint 
of  spirits  of  wine ;  let  them  simmer  on  the  fire  for 
half  an  hour,  then  strain  them  through  a  cloth. 
Apply  the  preparation  with  a  brush  to  the  picture, 
wipe  it  oflf  with  a  sponge,  and  apply  it  a  second 
time,  which  will  remove  all  dirt.  Then,  with  a  little 
nut-oil  warmed,  rub  the  picture,  and  let  it  dry. 
This  will  make  it  look  as  bright  as  when  it  came 
out  of  the  artist's  hand. 

To  silver  clock-faces,  the  scales  of  barometers,  ^c. 
Take  half  an  ounce  of  old  silver-lace,  and  an  ounce 
of  the  best  nitric  acid  ;  put  them  in  an  earthen  pot, 
and  place  them  over  a  gentle  fire  till  all  is  dissolved, 
which  will  happen  in  about  five  minutes ;  then  take 
the  mixture  off,  and  mix  it  in  a  pint  of  clear  water, 
after  which  pour  it  into  another  vessel  and  free  it 
from  sediment ;  then  add  a  spoonful  of  common  salt, 
and  the  silver  will  be  precipitated  in  the  form  of  a 
white  powder  or  curd ;  pour  off  the  acid,  and  mix 
the  curd  with  two  ounces  of  salt  of  tartar,  half  an 
ounce  of  whiting,  and  a  large  spoonful  of  salt ;  mix 
it  up  together,  and  it  is  ready  for  use. 


upholsterer's  companion.  143 

In  order  to  apply  the  above  composition,  clean 
your  brass  or  copper  plate  with  some  rotten-stone 
and  a  piece  of  old  hat ;  rub  it  with  salt  and  water 
with  your  hand ;  then  take  a  little  of  the  composi- 
tion on  your  finger  and  rub  it  over  your  plate,  and 
it  will  firmly  adhere,  and  completely  silver  it;  wash 
it  well  with  water ;  when  dry,  rub  it  with  a  clean 
rag,  and  varnish  it. 

This  silver  is  not  durable,  but  may  be  improved 
by  heating  the  article  and  repeating  the  operation 
till  the  covering  seems  thick  enough,  or  by  varnish- 
ing it  in  the  following  manner  : — 

Varnish  for  clock-faces,  S^c. 

Take  of  spirits  of  wine  one  pint ;  divide  it  into  three 
parts ;  mix  one  part  with  half  an  ounce  of  gum-mastic, 
in  a  bottle  by  itself;  one  part  of  spirits,  and  half  an 
ounce  of  sandarac  in  another  bottle ;  and  one  part 
of  spirits,  and  half  an  ounce  of  the  whitest  part  of 
gum-benjamin ;  mix,  and  temper  to  your  mind :  if 
too  thin,  some  mastic ;  if  too  soft,  some  sandarac  or 
benjamin.  When  you  use  it,  warm  the  silvered  plate 
before  the  fire,  and,  with  a  flat  camel's-hair  pencil, 
stroke  it  over  till  no  white  streaks  appear,  and  this 
will  preserve  the  silvering  for  many  years. 


l-i.4.  CABINET-MAKER   AND 

Crystallized  tin. 

Take  the  best  sheet-tin,  and  the  most  thickly 
covered  with  the  metal  you  can  get;  clean  it  well 
with  whiting  and  water,  till  the  face  is  well  polished ;' 
warm  it,  or  lay  it  on  a  hot  plate,  and  with  a  sponge 
or  brush  wet  it  well  with  strong  spirits  of  salts. 
You  will  soon  see  it  shoot  into  beautiful  patterns. 
As  soon  as  this  happens,  plunge  it  into  cold  spring- 
water.  You  may  then  varnish  it  with  any  colour 
you  please,  or  leave  it  in  its  natural  state,  and  var- 
nish with  clear  varnish. 

This  has  of  late  been  much  introduced  into  furni- 
ture, and,  when  well  executed,  has  a  beautiful  ap- 
pearance. You  may  use  it  as  a  veneer  in  the  manner 
of  buhl-work,  having  first  given  the  side  you  intend 
to  be  glued  to  your  work  a  good  coat  of  paint. 

To  render  plaster  figures  very  durable. 
Set  a  figure  in  a  warm  place  to  get  thoroughly 
dry ;  then  have  a  vessel  large  enough  to  contain 
it,  which  so  fill  that,  when  the  plaster  figure  is 
placed  in  it,  it  will  be  quite  covered  with  the  best 
and  clearest  linseed  oil,  just  warm  ;  let  it  remain 
m  the  vessel  for  twelve  or  fourteen  hours ;  then 
take  it  out,  let  it  drain,  and  set  it  in  a  place  away 


upholsterer's  companion.  145 

from  dust ;  and  when  the  oil  is  quite  dry,  the  orna- 
ment, or  whatever  is  thus  prepared,  will  look  like 
wax,  and  will  bear  washing  without  injury. 

To  make  transparent  or  tracing-paper. 

Dissolve  a  piece  of  white  beeswax,  about  the  size 
of  a  walnut,  in  half  a  pint  of  spirits  of  turpen- 
tine ;  then,  having  procured  some  very  fine  white, 
woven  tissue-paper,  lay  it  on  a  clean  board,  and, 
with  a  soft  brush  dipped  in  this  liquid,  go  over 
one  side,  and  then  turn  it  over,  and  apply  it  to 
the  other ;  hang  it  up  in  a  place  free  from  dust, 
to  dry.  It  will  be  ready  for  use  in  a  few  days. 
Some  add  a  small  quantity  of  resin,  or  use  resin 
instead  of  wax. 

This  will  be  found  very  useful  to  the  workmen 

for  copying  any  ornaments  or  figures,  as,  by  merely 

laying  it  on  the  work,  you   can  trace   every  line 

with  a  pencil,  and,  if  you  please,  copy  it  correctly 

on  paper,  at  your  leisure.     Or,  if  it  is  a  pattern  for 

buhl-work,  you  may  paste  your  tracing-paper  on 

the  work  you  wish  to  cut,  and  follow  your  pattern, 

as  directed  under  the  article   Buhl-work.     It  will 

be  also  found  very  handy  for  copying  sketches  or 

drawings. 

13 


146  CABINE'l  MAKER   AND 

To  gild  metal,  hy  dissolving  gold  in  aqua-regia. 

Dissolve  gold  in  aqua-regia,  and  into  the  solution 
dip  linen  rags;  take  them  out  and  dry  them  gently; 
then  burn  them  to  tinder.  After  you  have  well 
polished  your  work  with  this,  take  a  cork,  and,  dip- 
ping it  into  common  salt  and  water,  and  afterwards 
into  the  tinder,  rub  your  work  well,  and  its  surface 
will  be  gilt. 

Aqua-regia  is  compounded  of  two  parts  of  nitric 
acid  (aquafortis)  and  one  part  of  muriatic  acid, 
(spirits  of  salt,)  mixed  together. 

To  silver  ivory. 
Pound  a  small  piece  of  nitrate  of  silver  (lunar 
caustic)  in  a  mortar,  add  soft  water  to  it,  and  mix 
them  well  together;  keep  the  mixture  in  a  phial  for 
use.  When  you  wish  to  silver  any  ivory  article, 
immerse  it  in  this  solution,  and  let  it  remain  till  it 
turns  of  a  deep  yellow ;  then  place  it  in  clear  water, 
and  expose  it  to  the  rays  of  the  sun.  Or,  if  you  wish 
to  depicture  a  figure  or  cipher  on  your  ivory,  dip  a 
camel's-hair  pencil  in  the  solution,  and  draw  the 
subject  on  the  ivory.  After  it  has  turned  a  deep 
yellow,  wash  it  well  with  water,  and  place  it  in  the 
sunshine,  occasionally  wetting  it  with  pure  water. 


upholsterer's  companion.  147 

In  a  short  time  it  will  turn  of  a  black  colour,  which, 
if  well  rubbed,  will  change  to  a  brilliant  silver. 

To  clean  mirrors,  looking-glasses,  ^"C. 

Take  a  soft  sponge,  wash  it  well  in  clean  water, 
and  squeeze  it  as  dry  as  possible ;  dip  it  into  some 
spirits  of  wine,  and  rub  over  the  glass ;  then  have 
some  powder-blue  tied  up  in  a  rag,  dust  it  over  your 
glass,  and  rub  it  lightly  and  quickly  with  a  soft 
cloth ;  afterward  finish  with  a  silk  handkerchief. 

To  clean  ormolu  ornaments. 

When  the  expense  of  regilding  these  ornaments 
is  an  object,  the  following  method  will,  in  a  great 
measure,  restore  them  to  their  original  beauty ;  but, 
if  very  much  worn,  the  only  way  is  to  take  off  what 
remains  of  the  original  gilding,  and  clean  them  well 
by  immersing  them  in  aqua-regia,  or  a  mixture  of 
muriatic  acid  and  aquafortis,  and  repeating  the 
original  process,  which  is  similar  to  that  of  gilding 
buttons.  However,  if  not  in  a  very  bad  state,  let 
your  ornaments  lay  some  little  time  in  a  weak  mix- 
ture of  aquafortis,  and  then  wash  them  directly  in 
water ;  lay  them  on  your  hot  plate,  and,  when  suffi- 
ciently heated,   apply  very  pale   gold-lacker,   and 


148  CABIKET-MAKER    AND 

they  will  look  very  well,  as  what  remains  of  the 
original  gilding  will  not  be  injured  by  the  aquafortis, 
though  the  other  parts,  as  well  as  the  gold,  Avill  be 
perfectly  cleansed  from  every  dirt  or  tarnish. 

A  green  paint  for  garden-stands,  Venetian  blindsy 
trellises,  ^^c. 

Take  mineral  green,  and  white-lead  ground  in 
turpentine ;  mix  up  the  quantity  you  wish  with  a 
small  quantity  of  turpentine-varnish.  This  serves 
for  the  first  coat.  For  the  second,  put  as  much 
varnish  in  your  mixture  as  will  produce  a  good 
gloss.  If  you  desire  a  brighter  green,  add  a  small 
quantity  of  Prussian  blue,  which  will  much  improve 
the  beauty  of  the  colour. 

To  preserve  wood  against  injury  from  fire. 

Put  into  a  pot  an  equal  quantity  of  finely  pul- 
verized iron-filings,  brickdust,  and  ashes ;  pour 
over  them  glue-water  or  size ;  set  the  whole  near 
the  fire,  and,  when  warm,  stir  them  well  together. 
With  this  liquid  wash  over  all  the  wood-work  which 
may  be  in  danger,  and  on  its  getting  dry  give  it  a 
second  coat,  when  it  will  be  proof  against  damage 
by  fire. 


upholsterer's  companion.  149 

To  remove  stains  in  tables. 

Wash  the  surface  with  stale  beer  or  vinegar ;  the 
stains  will  then  be  removed  by  rubbing  them  with  a 
rag  clipped  in  spirits  of  salts.  To  re-polish,  proceed 
as  you  would  do  Avith  new  work. 

If  the  work  be  not  stained,  wash  the  surface  with 
clean  spirits  of  turpentine,  and  re-polish  it  with 
furniture-oil. 

Hints  in  melting  and  using  glue. 
The  hotter  the  glue,  the  more  force  it  will  exert 
in  keeping  the  two  parts  glued  together;  therefore, 
in  all  large  and  long  joints,  the  glue  should  be  ap- 
plied immediately  after  boiling.  Glue  loses  much 
of  its  strength  by  frequent  re-melting ;  that  glue, 
therefore,  which  is  newly  made,  is  much  preferable 
to  that  which  has  been  re-boiled. 

To  reneio  a  polished  surface. 
When  furniture  has  been  finished  with  wax  com- 
position, the  polish  may  be  renewed  by  repeating 
the  original  process  of  the  wax  composition  with  a 
small  quantity  carefully  rubbed  off. 

To  clean  off  the  surface  of  solid  worh. 
First,  smooth  it  with  a  finely-set  smoothing-plane, 

13* 


150  CABINET-MAKER    AND 

and  reduce  the  ridges  by  a  scraper ;  then  rub  the 
surface  with  glass-paper,  finishing  it  with  the  finest 
kind.  If  the  wood  be  of  an  open  grain,  you  must, 
in  addition  to  the  above,  wet  the  surface  uniformly 
with  a  wet  sponge,  and,  when  it  is  dry,  rub  it  a 
second  time  with  glass-paper,  till  sufficiently  smooth. 
Or,  while  the  surface  is  wet,  rub  it  with  pumice- 
stone  in  the  direction  of  the  fibres;  when  it  be- 
comes dry,  wet  it  again,  and  the  grain  will  be  raised 
in  a  less  degree  than  by  the  first  wetting.  The 
rubbing  being  again  repeated,  the  surface  will  be 
found  to  be  still  more  compact,  and  susceptible  of  a 
much  finer  polish. 

To  clean  lackered  work  in  brass  furniture. 

If  the  stain  or  blemish  be  not  too  deeply  seated, 
washing  it  with  a  soft  linen  or  muslin  rag  wetted 
■with  warm  water,  will  remove  it.  If  this  does  not 
succeed,  you  have  no  resource  but  to  re-lacker. 

To  cast  ortiamcnts  or  moulding  to  resemble  wood. 

Make  a  very  clear  cement  of  five  parts  of  Flan- 
ders glue  and  one  part  of  isinglass,  by  dissolving 
the  two  kinds  separately  in  a  large  quantity  of 
water ;    then,  after  having   separated  those   parts 


upholsterer's  companion.  151 

which  could  not  be  dissolved,  by  straining  them 
through  fine  linen,  mix  them  together.  The  glue  thus 
prepared  must  be  so  heated  that  the  finger  can  barely 
endure  the  temperature  ;  a  little  water  is  thus  evapo- 
rated, and  the  glue  acquires  more  consistence.  Mix 
raspings  of  wood  or  sawdust,  passed  through  a  fine 
sieve,  with  the  glue,  forming  it  into  a  paste.  Having 
rubbed  the  plaster  or  sulphur  mould  with  linseed  or 
nut-oil,  as  in  plaster  casts,  put  in  the  paste,  and 
press  the  parts  by  hand,  so  that  no  vacuity  may 
remain ;  and,  in  order  that  the  whole  may  acquire 
a  perfect  form,  cover  it  with  an  oiled  board,  and 
place  a  weight  on  it.  When  the  cast  is  dry,  re- 
move the  rough  parts;  if  any  inequalities  remain, 
they  are  to  be  smoothed.  The  ornament  thus  pre- 
pared may  be  fixed  with  glue  to  the  article  intended. 

Cement  stopping. 
Mix  equal  quantities  of  sawdust,  of  the  same 
wood  required  to  be  stopped,  and  clear  glue ;  and 
with  this  stop  up  the  holes  or  defects  of  the  wood. 
Where  the  surface  is  to  be  japanned  or  painted, 
whiting  may  be  used  instead  of  sawdust.  Be  sure 
to  let  the  stopping  dry  before  you  attempt  to  finish 
the  surface. 


152  CABINET-MAKER   AND 

To  clean  a  veneered  surface. 

Having  scraped  away  the  glue,  tooth  the  surface 
in  an  oblique  direction  to  the  fibres,  and,  in  pro- 
portion as  the  surface  requires  regularity,  set  the 
plane  finer.  The  final  part  of  the  operation  of 
planing  is  accomplished  by  a  fine  tooth  plane. 
Remove  all  the  marks  of  the  tooth  plane  by  a 
scraper,  and  finish  the  surface  with  glass-paper, 
or  with  pumice-stone  and  glass-paper.  Veneers, 
being  of  a  closer  texture  than  solid  wood  generally, 
do  not  require  so  much  labour  as  open-grained  solid 
wood. 

Grease  or  dirt  in  French  polish 
May  be  readily  removed  by  rubbing  it   quickly 
over  with  a  little   spirit   of  turpentine;   which,   if 
carefully  done,  will  not  soften  the  varnish. 

Directions  in  the  choice  of  tools. 
With  respect  to  choosing  the  tools  used  in  the 
cabinet  trade,  the  most  necessary  are  planes,  saws, 
and  chisels.  We  will  consider  them  first  with  re- 
spect to  the  wood  of  which  they  are  manufactured ; 
and  secondly  the  steel  which  forms  their  cutting 
edges.  Beech  is,  in  general,  and  should  be  always 
used  for  the  stocks,  handles,  &c.,  as  it  is  of  a  tough 


upholsterer's  companion.  153 

texture,  and  not  so  liable  to  split  or  warp  as  other 
woods.  There  are  two  kinds  of  beech,  usually 
known  by  the  names  of  black  and  red  beech,  and 
the  white  beech.  The  former  is  by  far  the  best  in 
every  respect,  and  may  be  always  known  by  its 
colour  and  texture,  which  are  darker  and  harder. 
The  white  is  more  apt  to  warp,  and  soon  wears  with 
use ;  it  should  therefore  always  be  rejected  as  im- 
proper. If  you  examine  a  piece  of  beech  endwise, 
you  will  perceive  the  grain  runs  in  streaks,  which 
among  workmen  is  called  the  heat  of  the  wood ;  in 
all  planes,  this  grain  or  beat,  which  is  the  hard 
fibrous  particle  of  the  wood,  runs  in  a  direction 
perpendicular  to  the  face  of  the  plane,  which  in 
that  case  appears  full  of  little  hard  specks  ;  whereas, 
if  the  beat  runs  parallel  to  the  face,  it  will  appear 
in  irregular  streaks,  which  situation  of  the  grain 
should  always  be  avoided,  as  the  face  will  be  apt 
to  wear  uneven,  and  more  subject  to  warp  and 
twist.  In  saw-handles,  and  stocks  for  bits,  the 
beat  should  run  in  the  same  direction  as  the  saw- 
blade,  or  in  the  same  direction  as  the  stock,  when 
laid  on  its  side.  In  moulding-planes,  it  is  very  fre- 
quently the  case  that  pieces  of  boxwood  are  let 
into  that  part  of  the  face  that  forms  the  quirk  of 


154  CABINET-MAKER    AND 

the  mouldings;  but  this,  when  possible,  should  never 
be  done,  as  the  two  woods  are  very  different,  and 
the  different  temperature  of  the  atmosphere  will 
cause  a  difference  in  the  contraction,  and  conse- 
quently the  plane  will  be  liable  to  cast.  If  it  is  at 
any  time  necessary,  introduce  a  small  piece  just 
at  the  mouth  of  the  plane,  firmly  dovetailed  in, 
■which  will  not  be  so  apt  to  derange  the  accuracy  of 
the  plane. 

The  temjyer  of  saivs,  chisels,  and  other  edged  tools. 
The  quality  of  the  steel  should  be  uniform 
throughout ;  indeed,  it  is  always  better  to  have 
them  tempered  rather  too  hard  than  soft,  for  use 
will  reduce  the  temper.  If  at  any  time  it  is  neces- 
sary to  perform  the  operation  yourself,  the  best 
method  is  to  melt  a  sufficient  quantity  of  lead  to 
immerse  the  cutting  part  of  the  tool  in.  Having 
previously  brightened  its  surface,  plunge  it  into 
the  melted  lead  for  a  few  minutes,  till  it  gets  suffi- 
ciently hot  to  melt  a  candle,  with  which  rub  its 
surface ;  then  plunge  it  in  again,  and  keep  it  there 
till  the  steel  assumes  a  straw  colour ;  but  be  careful 
not  to  let  it  turn  blue.  When  that  is  the  case, 
take  it  out,  rub  it  again  with  the  tallow,  and  let  it 


upholsterer's  companion.  155 

cool.  If  it  should  be  too  soft,  wipe  the  grease  off, 
and  repeat  the  process  without  the  tallow  ;  and, 
when  it  is  sufficiently  hot,  plunge  it  into  cold 
spring-water,  or  water  and  vinegar  mixed.  By  a 
proper  attention  to  these  directions,  and  a  little 
practice,  every  workman  will  have  it  in  his  power 
to  give  a  proper  temper  to  the  tools  he  may  use. 
If  a  saw  is  too  hard,  it  may  be  tempered  by  the 
same  means ;  but  as  it  would  be  not  only  expen- 
sive, but,  in  many  cases,  impossible  to  do  it  at 
home,  a  plumber's  shop  is  mostly  at  hand,  where 
you  may  repeat  the  process  when  they  are  melting 
a  pot  of  lead.  But  here  observe  that  the  temper 
necessary  is  different  to  other  cutting  tools  :  you 
must  wait  till  the  steel  just  begins  to  turn  blue, 
which  is  a  temper  that  will  give  it  more  elasticity, 
and,  at  the  same  time,  sufficient  hardness. 


APPENDIX 


"WOOD    STAINING. 

The  art  of  "  grounding"  and  "  engraving,"  ?.  e.,  im- 
parting various  ground  shades  and  fil)ri]  figures  to 
wooden  surfaces,  is  both  chemical  and  mechanical. 

Staining  was  formerly  subdivided  into  four  parts, 
namel}^  "washing,"  "matching,"  "imitating,"  and 
painting;"  but  modern  stainers  have  recently  added 
a  fifth  part,  which  they  term  "  iu)proviug  " 

WASHING 

Consists  in  coating  common  white  deal  or  fir  with  a 
dilute  aqueous  solution  of  clear  glue,  suitably  tinted 
with  a  proper  combination  of  two  or  more  of  the 
cheap  coloring  materials. 

For  a  mahogany  color :  one  part  red  lead  or  Vc- 
nitian  red,  with  two  parts  3'ellow  lead,  chrome,  or 
ochre.  » 

For  the  antique  hues  of  old  wainscot  oak :  equal 
parts  of  burnt  umber  and  brown  ochre. 

P'or  the  shades  of  rosewood  :  Venetian  red,  tinted 
with  lampblack. 

For  ebony:  ivory  black. 

For  the  tones  of  light  yellowish  woods:  whiting 
or  white  lead,  tinted  with  orange  chrome. 

For  walnut:  burnt  umber,  modified  with  yellow 
ochre. 

Wash-color  shoidd  always  be  ap])lied  in  a  warm 
state,  by  means  of  a  liannel ;  and  the  colored  wood 
ought  to  be  evenly  wi])ed  dry  with  shavings  or  rags. 


upholsterer's  companion.  15T 

MATCIIINQ 

Is  the  rendering  of  different  pieces  of  wood,  in  an 
article  of  furniture,  of  a  uniform  color,  so  that  they 
may  represent  the  appearance  of  one  entire  piece. 
To  perform  a  task  of  this  kind  successfully,  I  some- 
times treat  the  various  portions  in  the  following  man- 
ner:  I  first  bleach  the  darkest  parts,  by  carefully 
coating  them  with  a  strong  solution  of  oxalic  acid  in 
hot  water,  to  which  are  added  a  few  drops  of  spirit  of 
nitre.  When  the  blanched  parts  become  dry,  I  coat 
them  two  or  three  times  with  white  polish,  by  means 
of  a  camel-hair  pencil.  This  process,  however,  does 
not  always  prove  satisfactory,  so  I  frequently  lay  on 
a  delicate  coat  of  white  stain,  and  another  of  white 
varnish;  I  then  give  the  intermediate  dark  parts  a 
coat  of  common  varnish,  and  proceed  to  oil  all  the 
untouched  white  portions ;  next,  to  compare  the 
whole,  and  when  the  white  pieces  happen  to  be 
much  lighter  than  the  dark  ones,  I  immediately  ren- 
der them  of  the  exact  hue,  by  coating  them  with  a 
darkening  stain. 

The  "darkeners"  in  general  use  are  logwood,  lime, 
brown  soft  soap,  dyed  oil,  aquafortis,  sulphate  of  iron, 
nitrate  of  silver  with  exposure  to  the  sun's  rays,  car- 
bonate of  soda,  bichromate  of  potash,  and  many  more 
preparations  of  an  acidulous  or  alkaline  nature.  Of 
these  "darkeners"  the  two  last  mentioned  are  the 
most  preferable ;  and  here  are  the  best  modes  of  pre- 
paring and  using  either  of  them  :  Procure  an  ounce 
of  one  of  these  alkalies ;  powder  and  dissolve  it  in 
two  gills  of  boiling  water;  next,  get  three  bottles, 
label  them  1,  2,  3,  or,  weak,  medium,  strong  ;  put  one- 
half  of  the  solution  into  No.  8,  and  half  a  gill  into 
No.  2,  and  the  same  into  No.  I ;  then  {)our  an  addi- 
tional gill  of  clean  water  into  No.  2,  and  two  gills  of 
the  same  into  No.  1.  By  dissolving  both  alkalies 
separately,  in  the  manner  described,  you   will  have 

14 


158  CABINET-MAKER    AND 

six  liquids,  capable  of  staining  nearly  all  kinds  of 
wood  of  a  complete  variety  of  l)ro\vn  and  dark  tints. 

Tlie  solutions  of  carbonate  are  g-enerally  used  for 
dark  materials,  like  rosewood:  and  those  of  the  bi- 
chromate are  applicable  to  all  the  intermediate  and 
white  woods,  such  as  mahogany,  oak,  beech,  etc. 

Here  is  the  safest  mode  of  using  these  alkaline 
fluids:  Pour  a  sufficient  quantity  into  a  teacup  or 
saucer,  into  which  dip  a  sponge  or  a  flannel,  saturate 
it  thoroughly,  then  rub  evenly  over  the  wood,  and 
terminate  by  instantly  drying  off  the  stained  sutface 
with  a  handful  of  rags  or  other  soft  waste,  remember- 
ing all  the  while  that,  to  ensure  success,  you  must 
follow  out  this  manipulation  with  the  greatest  careful- 
ness and  the  utmost  dispatch. 

When  the  dark  and  light  portions  are  neither  very 
black  nor  very  white,  I  commonly  varnish  the  former, 
and  allow  the  latter  to  stand  in  oil  for  a  time  ;  by  this 
last  means  I  easily  match  the  different  portions  of  my 
work,  without  having  recourse  to  either  blanching  or 
staining. 

IMPROVING. 

An  aqueous  decoction  of  barberry  root,  or  an  alco- 
holic solution  of  gamboge  or  turmeric,  will,  when 
judiciously  applied,  impart  a  pleasing  yellow  hue 
Oily  decoctions  of  alkanet  root,  and  alcoholic  solutions 
of  dragon's  blood,  yield  rich  mild  reds.  Rectified 
naphtha,  that  has  been  dyed  with  camwood  dust, 
serves  for  another  reddening  tincture.  Lightest  hard- 
wood, such  as  birch,  is  frequently  improved  in  color 
by  being  sponged  with  oil,  slightly  tinted  with  rose 
madder,  or  Yenitian  red.  When  these  tinctures  are 
used  in  moderation,  they  invariably  improve  the 
appearance  of  the  grain,  and  brighten  the  general  tone 
of  ground,  so  peculiar  to  many  kinds  of  wood ;  but 
few  men  of  any  taste  whatever  will  admire  a  deep 
red  dye  upon  fine  wood. 


upholsterer's   COiMPANION,  159 

A  solution  of  asphaltum,  in  spirit  of  turpentine, 
makes  a  good  brown  stain  for  coarse  oaken  work, 
wliich  is  only  intended  to  be  varnished  with  boiled 
oil.  When  discolored  ebony  has  been  sponged  once 
or  twice  with  a  strong  decoction  of  gall-nuts,  to  which 
a  quantity  of  steel  dust  has  been  added,  its  natural 
blackness  becomes  more  intense  The  naturally  pale 
ground  and  obscure  grain  of  Honduras  mahogany  is 
often  well  brought  out  by  its  being  coated  first  with 
spirits  of  hartshorn,  and  then  with  red  oil.  Grayish 
maple  may  be  whitened  by  the  process  already  de- 
scribed in  matching.  Half  a  gallon  of  water,  in  which 
half  a  pound  of  oak  bark  aud  the  same  quantity  of 
walnut  shells  or  peels  have  been  thoroughly  boiled, 
makes  an  excellent  improver  of  inferior  rosewood  ;  it 
is  also  far  before  any  other  of  its  kind  for  bringing  out 
to  perfection  the  veiny  figures  aud  ground  shades  of 
walnut.  Raw  oil,  mixed  with  a  little  spirit  of  tur- 
pentine, is  universally  allowed  to  be  the  most  effica- 
cious improver  of  the  greater  number  of  materials. 
Beautiful  artificial  graining  may  be  imparted  to  vari- 
ous specimens  of  timber,  by  means  of  a  camel-hair 
pencil,  with  raw  oil  alone  ;  that  is,  certain  portions 
may  be  coated  two  or  three  times  very  tastefully,  so 
as  to  resemble  the  rich  varying  veins  which  consti- 
tute the  fibril  figures;  while  the  common  plain  parts, 
which  coustitute  the  ground  shades,  may  only  be 
once  coated  with  the  oil  very  much  diluted  with 
spii'it  of  turpentine. 

PAINTING 

Is  rarely  employed  with  satisfaction ;  but  it  fre- 
quently happens  that  the  polisher  makes  slight 
omissions  in  coloring  and  staining,  which  he  does 
not  readily  perceive  until  the  varnishing  or  polishing 
is  nearly  Bnished,  and  in  such  cases  he  must  either 
use  paint  or  do  his  work  over  again.  A  box  contain- 
ing the  following  colours  will  therefore  prove  of  great 


160  CABINET-MAKER    AND 

utility  :  Drop  black,  raw  and  burnt  uniljcr,  Vandyke 
brown,  French  Naples  yellow,  cadmium  yellow,  mad- 
der carmine,  flake  white,  and  light  red.  These  pig- 
ments should  be  finely  pounded,  and,  when  required, 
they  are  to  be  consistently  mixed  with  thin  "slake." 
The  objections  to  painting  are  that  it  obscures  the 
natural  beauty  of  the  wood,  and  when,  by  the  effects 
of  time,  the  properly-stained  portions  become  of  a 
very  dark  colour,  the  painted  parts  invariably  retain 
their  artificial  hues.  Instead  of  covering  the  imper- 
fect parts,  by  an  immoderate  use  of  pigments,  I  often 
tinge  them  with  dyed  polishes  and  varnishes ;  and 
these  preparations  can  be  stained  black,  with  log- 
wood, gall-nuts,  and  copperas;  red,  with  alkanet 
roots,  or  camwood  dust;  yellow,  with  turmeric,  or 
gamboge ;  .and  brown,  with  carbonate  of  soda,  and  a 
very  small  quantity  of  dragon's  blood 

IMITATIONS. 

When  curly-veined  birch  and  beech  have  been  reg- 
ularly brushed  with  aquafortis,  and  dried  at  the  fire, 
they  both  look  remarkably  like  mahogany.  A  decoc- 
tion of  logwood  and  fustic,  when  put  on  in  a  tepid 
state,  produces  a  similar  effect. 

The  common  French  mode  of  effecting  an  exact 
representation  of  the  color  of  mahogany  is  as  follows: 
First,  the  white  timber  is  brushed  with  a  dilute  solu- 
tion of  nitrous  acid  ;  secondly,  it  is  coated  once  or 
twice  with  finishing  spirit,  in  which  a  quantity  of 
carbonate  of  soda  and  dragon's  blood  have  been  dis- 
solved (the  proper  proportions  to  one  gill  of  spirit 
being  three-fourths  of  an  ounce  of  the  soda  and  a 
quarter  of  an  ounce  of  the  blood) ;  the  wood  is  after- 
wards finished  with  varnish  or  polish  of  a  reddish- 
brown  tint.  In  producing  this  shade  of  color,  Lon- 
don artisans  frequently  use  a  rich  brownish-red  kind 
of  chalk,  the  color  of  which  is  similar  to  that  of  fine 
Hispauiola  mahogany.      It   is  commonly  applied  in 


upholsterer's  companion.  161 

the  form  of  a  dry  powder  by  means  of  a  brush,  and 
then  well  rubbed  with  another  brush  or  coarse  flan- 
nel. 

Ingenious  stainers  can  make  American  ash  resem- 
ble oak  wainscot,  both  in  vein  and  shade,  so  correctly, 
as  10  baffle  the  most  experienced  connoisseurs  in  dis- 
tinguishing tbe  genuine  from  the  spurious.  Some 
make  a  commencement  by  sketching  out,  upon  certain 
parts  of  the  ashen  exterior,  the  requisite  white  veins, 
by  means  of  a  camel-hair  pencil,  with  white  stain  ; 
that  done,  they  coat  the  veins  with  thin  varnish,  and 
then  darken  the  general  ground,  dealing  carefully 
throughout  the  entire  process  with  the  veined  por- 
tions. Others  stain  and  embody,  i.  e.,  French  polish 
the  ash  with  the  ordinary  preparation,  after  which 
they  pursue  an  operative  course  termed  "  champing  ;" 
that  is,  scratching  fancifully,  so  as  to  form  the  veins, 
upon  different  parts  of  the  coated  surface,  before  it 
gets  time  to  harden,  with  a  saturated  rag.  The  for- 
mer process  is,  however,  the  more  suitable  of  the 
two. 

The  best  mode  of  producing  a  representation  of  oak 
wainscot  upon  white  materials  like  beech  and  fir, 
consists  as  follows :  A  coat  of  Stephens'  satinwood 
Slain  is  regularly  laid  on,  then  a  soft  graining  comb  is 
gently  drawn  along  the  stained  space,  and  when  the 
streaks  are  all  correctly  produced,  the  veins  are  formed 
with  white  stain  This  last  coloring  stuff  is  made 
by  digesting  three-quarters  of  an  ounce  of  pearl  white 
(subnitrate  of  bismuth),  and  an  ounce  of  isinglass, 
both  of  which  are  sold  by  the  druggist,  in  two  gills  of 
boiling  water.  The  tone  of  this  stain  may  be  modi- 
fied by  being  diluted  with  water,  or  tinted  with  other 
stains. 

Showy  elm  wood,  after  being  delicately  darkened, 
passes  in  appearance  for  Italian  walnut. 

A  single  coat  of  No.  3  chromate  of  potash  solution, 
as  previously  mentioned,  will   cause   highly-colored 

14* 


162  CABINET-MAKER   AND 

and  wilcUy-fifjfurod  mahosranv  to  resemble  rich  rose- 
wood so  exactly  that  the  best  judges  may  be  deceived 
by  it. 

To  imitate  the  lively  contour  and  rich  ground  of 
rosewood  upon  inferior  white  wood,  you  must  pro- 
duce the  ground  shade  by  sponging  with  a  decoction 
of  Braziletto,  or  Brazil-wood,  and  the  fibril  veins  by 
brushing  partially  and  judiciously  with  black  li(juor, 
which  is  prepared  by  boiling  logwood  chips,  sulphate 
of  iron,  and  steel  filings,  in  equally  proportioned 
quantities  of  vinegar  and  water.  Sometimes  a  grain- 
ing comb  is  passed  over  the  ground  shade  longitudi- 
nally, and  with  a  slight  vibratory  motion,  so  as  to 
effect  natural-looking  streaks,  previous  to  the  pencil- 
ling or  veing. 

The  appearance  of  ebony  may  be  given  to  any 
species  of  wood,  by  the  application  of  three  distinct 
coats  of  black  liquor;  and  after  being  smoothed,  the 
counterfeit  ebony  may  be  embodied  with  white 
polish  ;  this  greatly  helps  to  preserve  the  trausparent 
density  of  the  dyed  material. 

Of  the  several  compositions  and  imitative  prepara- 
tions that  are  sold  ready-made,  the  oak,  mahogany, 
satinwood,  rosewood,  and  ebony  powders,  sold  by 
Mr.  Henry  Stephens,  18  St.  Martin's  le-Grand.  Lon- 
don, are  unquestionably  the  most  superior.  They  are 
all  soluble  in  boiling  water,  and  are  much  employed 
for  various  kinds  of  joinery,  as  they  form  good  sub- 
stitutes for  expensive  oil  paints.  Notwithstanding 
their  superiority,  the  virtues  of  these  dye  stulfs  may 
be  very  much  enhanced  by  the  addiiion  of  a  mordant 
that  is  capable  of  modifying  and  fastening  the  tints 
and  shades  which  they  impart,  J  have  successfully 
employed  the  following  mordants:  Spirits  of  liitre 
for  the  satinwood  stain  ;  a  powerful  solution  of  oxalic 
acid  for  the  oak;  dilute  nitrous  acid  for  the  mahog- 
any, and  No.  3  carbonate  solution  for  the  rosewood 
stains. 


upholsterer's  companion.  163 

Equal  proportions  of  Stephens'  oak  stain,  and  No. 
2  biclironiate  solution,  constitute  a  perfect  dye  stuff, 
whicli,  when  skillfully  applied,  causes  lively-figured 
beech,  birch,  or  fir,  to  bear  a  striking  reseinl)lance  to 
dark  walnut.  By  the  substitution  of  aquafortis  for 
the  potash,  white  timber  may  be  converted  into  coun- 
terfeit walnut  also,  or  a  mixture  composed  of  similar 
parts  of  the  acid  and  alkali,  without  the  oak  stain, 
will  answer  the  same  purpose  much  better,  especially 
if  it  is  to  be  applied  upon  American  fir. 

DIRECTIONS   FOR    STAINING. 

There  is  no  fixed  principle  upon  which  certain 
peculiar  tints  or  shades  can  be  produced,  owing,  in  a 
great  degree,  to  the  natural  qualities  of  wood  being 
so  very  numerous  and  variable.  The  stainer  is  there- 
fore merely  recommended  to  adhere  as  much  as  he 
possibly  can  to  the  following  rules  :  In  preparing 
any  of  the  tinctures  already  named,  it  is  of  some  im- 
portance to  powder  or  mash  all  the  dry  stuffs,  previous 
to  dissolving  or  macerating  them,  and  to  purify  all 
the  liquids,  by  filtration,  before  use.  Their  coloring 
powers,  which  mainly  depend  on  very  accurate  com- 
binations of  the  requisite  ingredients,  should  always 
be  carefully  tested  before  a  free  use  be  made  of  them, 
and  the  absorbent  properties  of  the  materials  intended 
to  be  stained  should  be  tested. 

It  will  be  better  for  experienced  hands  to  coat  two 
or  three  times  with  a  weak  stain,  than  only  once  with 
a  very  strong  one,  as,  by  the  adoption  of  the  first 
mode,  a  particular  tint  may  be  gradually  effected, 
whereas,  by  pursuing  the  latter  course,  an  irremedia- 
ble discoloration  may  perhaps  prove  the  consequence. 

Coarse  pieces  of  carving,  spongy  end,  and  cross- 
grained  woods,  should  be  previously  prepared  for 
the  reception  of  stain  ;  this  is  best  done  by  putting 
on  a  thin  layer  of  varnish,  letting  it  dry,  and  then 


164  CABINET-MAKER   AND 

glass-papering  it  completely  off  aofain.  Fine  work 
merely  requires  to  be  oiled  and  slig'htly  rul)bed  with 
the  finest  glass-paper.  Thus  prepared,  the  woody 
fibre  is  enabled  to  take  on  the  stain  more  regularly, 
and  to  retain  a  high  degree  of  smoothness. 

When  stain  is  put  on  with  a  flat  hog-hair  tool,  it  is 
improved  by  a  skillful  but  moderate  ai)])lication  of  a 
badger-hair  softener.  The  steel  comb  is  chiefly  em- 
ployed for  streaking  artificial  oak,  and  the  mottler  is 
used  for  variegating  and  uniting  the  shades  and  tints 
of  mahogany.  Flannels  and  sponges  are  often  worked 
with  instead  of  brushes,  but  the  implements  most 
serviceable  for  veining  or  engraining  purposes  are 
small  badger  sash  tools  and  sable  pencils. 

The  effect  produced  by  a  coat  of  stain  cannot  be 
accurately  ascertained  until  it  has  i)een  allowed  suffi- 
cient time  for  drying,  and  this  allowance  is  most 
conducive  to  the  development  of  nearly  all  external 
coatings. 

SIZING    AND    EMBODYING. 

The  processes  and  manipulations  of  "pore-closing  " 
and  "hole-filling,"  which  are  soon  acquired  by  a  little 
attention  and  practice,  cannot  be  too  highly  recom- 
mended to  the  polisher's  notice  as  being  most  essen- 
tial to  the  speedy  development  of  a  clear,  smooth, 
imporous  ground,  which  is  the  main  object  to  be 
studied  in  French  polishing. 

It  is  found  that  plaster  of  Paris,  when  converted 
into  a  creamy  paste,  with  water,  proves  a  most  valu- 
able pore-filling  material.  It  is  to  be  rubl)ed,  by 
means  of  a  coarse  rag,  across  the  woody  fil)re,  into 
the  holes  and  pores,  till  they  be  completely  satu- 
rated, and  then  the  superfluous  stucco  on  the  outside 
is  to  be  instantly  wiped  off.  The  succeeding  pro- 
cesses are  technically  termed  papering,  oiliug,  and 
embodying. 


upholsterer's  companton.  1G5 

Whon  firiply-ponndod  wliiting'  is  proporly  slakod 
with  painters'  dryitit^  oil,  it  forms  another  stuff  and 
labor-saving  porc-filler.  It  is  applied  in  the  same 
manner  as  the  preceding  one,  and  it  is  recommended 
on  account  of  its  quickly-hardening  and  tenacious 
virtues  as  a  cement.  Sometimes  wliilc  lead  is  used 
in  lieu  of  the  whiting. 

Before  using  either  of  these  or  other  compositions 
for  the  same  purpose,  I  generally  tint  them  to  corres- 
pond exactly  with  the  color  of  the  article  I  intend  to 
size. 

Holes  and  crevices  may  be  well  filled  up  with  a 
cement  that  is  made  by  melting  beeswax  in  combina- 
tion with  resin  and  shellac. 

A  few  expert  artisans,  who  regard  their  modes  of 
pore-filling  as  important  secrets,  do  their  work  won- 
derfully quick,  on  one  or  other  of  the  principles  here 
described  : — 

1.  After  oiling,  etc.,  they  proceed  to  embody, 
keeping  their  rubbers  in  a  sappy  condition  with  thin 
polish,  and  taking  special  care  to  use  no  oil  during 
this  first  stage  of  the  polishing,  which  continues  until 
all  the  pores  are  well  closed.  After  having  allowed 
their  work  sufficient  time  to  harden,  they  smooth  it 
with  fine  glass-paper,  and  embody  it  a  second  time 
with  thicker  polish,  or  a  mixture  of  polish  and  var- 
nish, causing  their  rubbers  to  work  easily  with  half 
of  the  quantity  of  oil  which  is  customarilj^  employed. 
They  afterwards  rub  this  second  body  very  smooth 
with  moist  putty. 

2.  Common  work  is  first  sized,  then  embodied,  and 
then  varnished;  next,  the  outer  coating  is  properly 
smoothed,  after  which  the  work  merely  requires  a  few 
rubberfuls  of  polish  to  make  it  ready  for  spiriting, 
i.  e.,  finishing. 

3.  I  have  often  succeeded  in  filling  some  of  the 
most  spongy  textures  in  this  manner  : — I  wash  them 
thoroughly,  rubbing  crosswise,  with  a  sponge  satu- 


166  CABINET-MAKER    AND 

rated  with  polish,  till  it  l^ecomes  dry;  then  smooth- 
in;?  ensues;  after  which  I  proceed  to  eml)ody  them, 
employing:  stucco  in  the  first  embodying?,  and  pumice- 
stone  in  the  second  one.  The  mode  of  using  either 
of  these  poutided  substances,  is  to  shake  a  few  grains 
on  the  sole  of  the  rubber  when  it  is  newly  moistened 
with  polish,  then  to  cover  the  rubber  witli  a  fine  linen 
rag,  and  to  apply  it  in  the  ordinary  way,  observing, 
however,  to  put  as  little  pressure  upon  it  as  possible. 
The  stucco  thqs  applied  tends  to  fill  up  the  pores  and 
to  harden  the  body  of  polish  on  the  exterior;  while 
the  pumice-stone  gradually  diminishes  all  manner  of 
roughness,  and  also  helps  to  fill  up  the  pores.  Too 
much  of  the  former  should  not  be  used,  as  it  is  apt 
to  impart  a  semi-opaque  appearance,  and  too  much  of 
the  latter  has  a  tendency  to  scratch  the  polished  sur- 
face. 

4.  Comparatively  few  polishers  have  acquired  so 
great  a  proficiency  in  the  practice  of  the  trade  as  to 
polish  wood  without  altering,  in  a  certain  degree,  its 
natural  color.  Here  is  an  expensive  system  upon 
which  any  rich  porous  material,  such  as  Italian  wal- 
nut, can  be  made  to  take  on  a  transparent  gloss  that 
will  remain  permanent  for  many  years,  and  to  retain 
the  same  tone  of  color  after  it  is  finished  as  it  did 
before  it  was  touched  with  any  polishing  liquid.  The 
walnut  receives  a  well-spread  la\'er  of  refined  glue, 
and  after  being  permitted  to  become  hard,  the  entire 
outer  body  of  the  glue  is  completely  removed  by  the 
mechanical  application  of  a  steel  scraper  and  glass- 
paper.  Next,  the  woody  fil)re  is  twice  embodied  with 
white  polisli,  and  cleaned  with  scraper,  etc.  Lastly, 
proper  sinking  periods,  smoothings  with  pumicestone, 
and  slight  embodyings  with  white  polish,  alternately 
succeed  each  other  till  the  article  is  re;nly  for  the  spir- 
iting process. 

In  order  to  facilitate  the  necessary  friction,  a  little 
purified  grease  ought  to  be  used  on  the  sole  of  the 


upholsterer's  companion.  1G7 

rubber  instead  of  oil.  The  latter  should  never  be 
employed  for  the  polishing'  of  an  article  that  is  only 
inlaid  with  walnut  veneers,  as,  owing  to  iheir  extreme 
thinness  and  porosity,  the  oil  freely  penetrates  through 
to  the  ground  wood,  softening  the  glue,  and  causing 
the  veneers  to  rise  in  blisters. 

The  gluey  coating,  which  must  be  of  precisely  the 
same  hue  as  the  walnut,  is  seldom  rcfjuired  for  close- 
grained  wood,  like  ebony  and  maple. 

Superficial  size  is  a  transparent  paste,  which  is  suf- 
fered to  remain  on  the  e.vterior  of  large  pieces  of 
joinery  and  inferior  cabinet  articles  that  have  been 
previously  stained,  and  are  merely  to  be  varnished. 
It  is  sold  by  H.  Stevens,  London. 

SMOOTHING. 

There  are  numerous  compounds  and  substances 
chosen  for  smoothing  down  the  rough  surface  of 
coated  woodwork;  but  in  place  of  encumbering  the 
present  space  with  a  long  list  of  their  names,  I  shall 
only  specify  the  best  materials,  and  give  a  brief  ex- 
planation of  the  modes  of  applying  them. 

The  outside  face  of  bare  woodwork  simply  requires 
to  be  papered,  i.  e.,  scoured  with  glass-paper,  which 
is  papered  in  point  of  degree  from  No.  0  tine,  to  No. 
3  coarse. 

The  operation  of  smoothing  is  admitted  to  be  a 
most  important  branch  of  the  art  here  treated  of,  for 
the  obvious  reason  that,  when  it  is  judiciously  con- 
ducted, it  is  ultimately  found  to  contribute  to  two 
very  desirable  ends,  namely,  "full  pores"  and  "smooth 
surfaces  " 

The  rougfhness  so  peculiar  to  first  coatings  of  var- 
nish is  nicely  refined  by  being  rubbed  with  No.  1 
paper.  Where  the  work  is  extremely  coarse,  it  ought 
to  be  freely  moistened  with  oil  first,  and  then  papered  ; 
under  this  treatment  a  thin  paste  is  formed  by  the 
attrition,  which  not  only  reduces  the  grossuess  more 


168  CABINET-MAKER    AND 

efiFectually,  but  materially  assists  in  filling  up  the 
open  pores. 

The  process  of  refining'  second  coatings,  or  more  ad- 
vanced bodies,  is  effected  by  rul)biug  them  with  a 
flannel  thoroughly  smeared  with  a  paste  formed  of 
water  and  pulverized  pumicestone. 

Finely-pounded  whiting,  slaked  with  either  oil  or 
water,  makes  an  excellent  paste  for  refining  bodies 
that  are  well  advanced  towards  finishing. 

Unctuous  rust  or  incrustation  is  removed  from  the 
face  of  old  bodies  of  polish,  etc.,  by  friction  with  a 
flannel  smeared  with  a  paste  of  IJath-brick  dust  and 
water.  A  strong  lye  of  potash  is  frequently  used  for 
the  same  purpose  ;  but  I.  have  discovered  that  the 
quickest  and  most  effectual  method  of  removing  rust, 
is  to  scour  it  with  pure  spirit  of  turpentine  ;  by  this 
means  the  polish  is  preserved  unsullied.  Turpen- 
tine is  also  capable  of  neutralizing  bodies  of  beeswa.^, 
etc. 

When  unadulterated  spirit  of  wine  is  used  in  a 
tepid  state,  it  washes  off  old  coatings  of  French  pol- 
ish, spirit  varnish,  and  lacquer. 

Directions. 

Let  it  be  kept  in  remembrance  that  no  job  ought  to 
be  finished  in  the  polishing,  immediately  after  it  has 
been  smoothed,  because  the  scratches  occasioned  by 
the  use  of  glass-paper,  or  any  of  the  pastes  here 
specified,  thougli  inipercoptil)le  when  the  work  is 
newly  finished,  l)ecome,  in  a  short  time  afterwards, 
plainly  discernible,  causing  the  gloss  to  present  an 
imperfect  exterior. 

Flat-surface  work  require?  to  be  papered  with  a 
cork  rubber,  which  is  generally  plied  in  the  longitu- 
dinal direction  of  the  grain. 

In  smoothing  first  coatings,  and  the  more  advanced 
bodies,  rub  the  former  transversely,  and  the  latter 
circularly.     Rub  lightly  and  regularly ;  avoid  crack- 


upholsterer's  companion,  169 

ina;  or  scratching  the  outer  face  ;  and  carefully  deal 
with  the  edges  and  corners  (of  stained  wood  espe- 
cially), as,  by  defacing  or  discoloring  them,  you  will 
absolutely  spoil  the  appearance  of  tiie  work. 

In  the  outset,  the  grain  of  ash,  birch,  or  oak,  can  be 
mostly  prevented  from  rising  by  sponging  it  with 
water,  letting  it  dry,  papering  it,  and  at  the  commence- 
ment of  the  polishing  process,  by  using  the  rubber 
only  slightly  moistened  with  thick  polish  or  varnish, 
without  oil,  till  the  wood  acquires  a  thin  smooth 
skin;  roughness  can  likewise  be  much  avoided  by 
strictly  enforcing  all  the  rules  that  are  likely  to  pro- 
mote cleanliness. 

SPIRIT   VARNISHING. 

The  brushes  employed  for  this  operation  are  the 
flat  camel-hair  ones.  They  vary  in  point  of  breadth 
from  a  quarter  of  an  inch  to  four  inches  and  upwards. 
The  finest  small  white  bristle  tools  and  red  sable 
pencils  are  found  to  be  very  serviceable  for  coating 
the  delicately-shaped  members,  and  the  somewhat 
inaccessible  cavities  of  turned  and  carved  work.  The 
way  to  preserve  their  elasticity  is  to  rinse  their  hairy 
ends  (after  use)  in  finishing  spirit;  the  spirit  is  then 
to  be  gently  pressed  out  by  passing  the  hair  between 
the  finger  and  thumb.  After  being  cleaned,  the 
brushes  should  be  placed  so  as  to  hang  perpendicu- 
larly, or  to  rest  laterally  within  a  dry  air-proof  ves- 
sel. Where  these  preservative  principles  have  been 
neglected,  the  hardened  brushes  require  to  be  soaked 
in  the  varnish  for  an  hour  or  so,  or  if  wanted  for  im- 
mediate use  they  can  be  softened  in  a  few  minutes 
by  being  steeped  in  lukewarm  methylated  finish.  For 
several  descriptions  of  fancy  work,  I  prefer  good 
Turkey  sponges,  as  they  are  capable  of  spreading 
either  stain  or  varnish  more  evenly  than  the  camel 
tools. 

The  next  thing  worthy  of  notice  is  the  varnish 

15 


170  CABINET-MAKER    AND 

dish,  which  ought  to  be  a  substantial  earthen  vessel, 
similar  in  size  and  shape  to  a  small  tea-saucer,  but 
rather  deeper,  having  two  or  three  notches  in  its 
upper  edge,  to  fit  the  handles  of  the  brushes,  the 
hairy  ends  of  which  should  be  kept  lying  on  their 
sides— and  not  resting  on  their  extreme  points,  as  is 
commonly  the  case — while  in  the  dish.  The  vessel 
should  also  have  a  "  regulator  "  and  a  lid  ;  the  former 
consists  of  a  piece  of  wire  placed  centrally  across  the 
mouth  of  the  dish,  and  firmly  fastened  at  both  ex- 
tremities ;  it  is  useful  in  regulating  tlie  proper  quan- 
tity of  stuff  required  in  the  coating  tool  at  each 
dipping.  A  closely-fitting  lid,  when  on,  serves  to 
keep  the  varnish  free  from  dust,  and  other  destructive 
agents,  arising  from  constant  exposure  to  the  atmos- 
pheric air. 

Bales. 

Instantly  after  dipping,  the  brush  or  sponge  is 
once  or  twice  gently  passed  over  the  regulator  ;  this 
prevents  the  tools  from  transferring  an  unnecessary 
quantity  of  polish  to  the  work  in  operation.  In 
merely  putting  on  the  first  and  second  coats,  the  tool 
may  be  worked  across  the  grain  ;  but  in  finishing,  it 
must  be  worked  along  the  grain,  and  in  either  case 
the  varnish  must  be  equally  and  evenly  laid  on.  In 
either  sponging  or  brushing,  the  implenient  ought  to  be 
freely  and  lightly  handled  ;  it  should  also  be  plied  with- 
some  degree  of  speed,  as  the  varnishes  of  spirits  have 
not  the  slow-setting  properties  which  distinguish  those 
of  oil.  Care  should  be  taken  to  touch  one  part  only 
once  at  a  time,  as  by  going  over  the  same  space 
twice,  it  is  always  rough  on  becoming  dry.  The 
most  experienced  varnishers  maintain  that  it  is  best 
to  make  a  sleek  ground  with  a  ruhbcrful  of  French 
])olish,  always  before  the  application  of  spirit  varnish  ; 
and  that  it  is  e([ually  inqxntant  to  dry  the  rubber 
thoroughly,  leaving  no  degree  of  uuctuousness  upon 


upholsterer's  companion.  171 

the  thin  superstratum,  previous  to  the  hiyino:  on  of  a 
coat  of  finishing  varnish.  They  unanimously  assert, 
too,  tliat  it  is  of  the  utmost  conse(|uence  in  the  pro- 
duction of  a  faultless  gloss,  to  permit  the  last  pellicle 
of  polish  to  get  an  hour's  rest  before  it  receives  a  coat 
of  fine  varnish,  and  also  to  let  the  coating  of  slake 
"stand"  for  two  hours  prior  to  its  being  finally 
smoothed  with  a  damp  rubber. 

FRENCH   POLISHING. 

Situations. — The  ordinary  difficulties  attending 
the  polishing  of  a  fine  article,  which  requires  to  be 
particularly  well  done,  may  be  much  lessened  by  hav- 
ing its  various  parts  placed  in  an  accessible  position 
while  it  is  being  polished.  The  polishing  shop  should 
be  a  cleanly  kept  and  commodious  room,  having  good 
perpendicular  windows,  near  each  of  which  a  bench 
ought  to  be  situated.  The  most  suitable  benches — 
the  tops  of  which  are  generally  covered  with  thick 
soft  cloths — are  those  measuring  about  six  feet  by 
three  ;  and  from  three  feet  six  inches  to  four  feet  in 
height.  They  must  stand  unfastened,  so  as  to  be  re- 
movable at  any  time,  in  order  to  answer  the  different 
temporary  positions  in  which  the  jobs  require  to  be 
put.  Before  commencing  to  polish,  I  commonly  place 
my  work  horizontally  upon  the  bench,  or  upon  a  pair 
of  pads  on  the  floor,  and  I  keep  my  face  directly 
opposite  the  window  while  working.  When,  how- 
ever, a  perpendicularly-shoped  specimen  of  cabinet 
ware,  that  requires  to  be  operated  upon  in  its  erect 
attitude,  comes  under  my  treatment,  1  place  it  upon 
the  bench,  letting  it  rest  on  its  feet  or  base,  and  while 
working,  I  stand  between  the  bench  and  the  window, 
keeping  my  back  towards  the  latter. 

Rubbers.  —  The  small  pliable  rubbers  employed  for 
doing  carved  framework,  etc.,  are  usually  made  of 
white  wadding,  and  the  large  round  ones  used  for 
surface  work  are  mostly  formed  of  soft  flannel.     The 


172  CABINET-MAKER    AND 

latter  kind  must  be  firmly  made;  and  the  more  they 
possess  sucli  (jualifications  as  proper  size  and  solidity, 
the  more  quickly  and  satisfactorily  will  they  polish 
extensive  surfaces. 

Eags.  —  Fine  linen  makes  the  best  rubber  coverings 
and  spiriting-  cloths,  but  cheap  cotton  will  answer 
nearly  as  well.  Both  stuffs  are  preferred  after  hav- 
ing been  used  and  washed  several  times.  The  way 
to  wash  them  is,  to  boil  them  first  in  a  strong  lye  of 
potash,  and  then  in  a  weak  one  of  soap  powder, 
suffering  each  boiling  to  be  succeeded  by  a  thorough 
rinsing  in  clean  water. 

Wettings. — Some  workmen  wet  the  soles  of  their 
rubbers,  by  dipping  into  a  saucer  containing  the  pre- 
paration, and  others  by  holding  their  bottles  upside 
down,  allowing  the  polish  to  shower  through  the 
drilled  punctures  of  the  stopples.  Care  should  be 
taken  not  to  soak  the  rubber  too  much  bv  either 
means  ;  and  after  wetting  and  covering,  the  sole  ought 
always  to  be  pressed  forcibly  upon  the  palm  of  the 
hand,  so  as  to  e(iualize  the  moisture. 

Kubbings — Invariably  on  beginning  with  a  uewly- 
wetted  rubber,  I  gently  and  regularly  sweep  the 
surface  from  end  to  end  in  the  running  direction  of 
the  fibre,  three  successive  times ;  I  then  rub  across 
the  grain  with  a  semicircular  motion,  till  the  polish- 
ing tool  becomes  dry.  This  operation  is  of  course 
repeated  until  the  whole  surface  of  the  pores  is  no 
longer  visible.  The  work  so  treated  is  now  to  be 
left  in  a  clean  apartment  for  a  period  of  twelve  hours; 
this  being  the  time  required  fur  the  complete  absorp- 
tion of  the  first  body. 

The  sinking  period  having  expired,  the  work  is 
smoothed,  dusted,  etc.,  and  then  the  polishing  of  it  is 
recommenced.  The  first  sweepings  are  similar  to 
those  descrii)ed  in  the  jjreceding  embodying,  after 
which  1  ply  the  rubber  wholly  with  a  rotatory  move- 
•iient,    leaning   lightly    on   it   at   first,    and    slightly 


upholsterer's  companion.  173 

inereasinc^  the  necossary  pressure  towards  the  drying' 
of  it,  Avhich  I  finally  accomplish  by  sweeping  once  or 
twice  along  the  grain,  expressly  to  remove  any  marks 
that  may  have  been  caused  by  the  cross  or  round 
rubbings. 

In  those  manipulations  it  is  much  better  to  use 
freely  extended  motions,  than  contracted  ones;  there- 
fore the  mechanical  movements  of  the  arm  must  on 
no  account  be  confined. 

Rules. — Wipe  all  the  dust  off  your  work  at  each 
recommencement.  Allow  every  embodying  a  proper 
time  to  absorb  and  harden,  previous  to  the  reapplica- 
tion  of  smoothing  stuffs  or  polishes.  Cover  your 
rubber  with  a  clean  part  of  the  rag  at  each  wetting. 
Carefully  guard  against  working  your  implement  too 
long  in  one  direction,  and  leaning  too  heavily  on  it 
when  it  is  very  wet,  else  you  will  be  apt  to  produce 
coarse  marks  and  streaky  roughness. 

Kubber  marks  may  be  removed  by  their  being 
reversely  rubbed  with  a  heavily-pressed  half  dry 
rubber. 

In  polishing  a  very  large  surface,  such  as  the  top 
of  a  dining  table,  do  only  one-half  at  a  time. 

In  spiriting,  the  finishing  spirit  should  not  be  used 
in  excess,  because  it  dissolves  a  portion  of  the  resinous 
or  gummy  body,  and  thereby  causes  dimness  instead 
of  brightness.  If,  however,  the  spirit  be  slightly 
mixed  with  polish,  and  be  sparingly  and  judiciously 
employed,  the  desired  clearness  of  lustre  will  make 
itself  apparent.  Prior  to  the  application  of  the  "spirit 
cloth,"  which  consists  of  a  few  soft  rags  loosely  rolled 
up  in  the  shape  of  a  large  finger  rubber  and  slightly 
damped  with  spirit,  it  is  most  essential  to  ply  the 
rubber  more  quickly,  and  a  little  longer  than  ordinary, 
for  the  purpose  of  removing  all  signs  of  moisture  and 
greasiness  from  the  sui'face  of  the  gloss. 

Most  polishers  seem  to  think  that  nothing  can  be 
more  productive  of  transparent  brilliancy  and  durable 

16* 


174  CABINET-MAKER    AND 

hardness  at  the  finish  than  the  moderate  use  of  spirit 
that  has  been  somewhat  weakened  by  exposure  to  the 
air,  and  an  allowance  of  two  hours  as  a  resting  period 
between  the  final  embodying  and  the  spiriting 

DIRECTIONS    FOR   REPOLISIIING. 

In  order  to  apply  this  process  with  facility,  you 
will  find  it  needful  to  disunite  the  various  parts  of 
each  article.  If  your  job  be  a  wardrobe,  take  off 
the  doors  by  unfixstening  their  hinges;  remove  all 
the  screw  nails ;  take  off  the  cornice ;  lift  the  wings 
or  carcases  from  the  base ;  and  then  separate  the 
mouldings  and  other  carved  ornaments  from  the 
frames  and  panels  of  the  doors.  If  it  be  a  chest  of 
drawers,  pull  the  drawers  out ;  unscrew  the  knobs 
or  handles;  remove  the  scutcheons  from  the  key-holes  ; 
free  the  columns  or  pilasters  from  their  recesses  ;  and 
lift  the  carcase  from  off  the  base.  If  your  job  should 
happen  to  be  a  sideboard,  separate  the  upper  back 
from  the  top,  unscrew  the  under  back,  and  then  take 
tbe  base,  top,  and  pedestals  asunder. 

After  having  disjoined  the  different  portions  and 
ornaments,  take  a  pencil  and  put  tallying  marks  on 
every  two  meeting  sides  ;  this  will  guide  you  in  having 
everything  appropriately  replaced,  when  tbe  complete 
article  is  finished. 

The  viscid  rust  must  be  thoroughly  removed  from 
the  surface  of  the  work;  this  is  done  by  scrubbing  it 
with  a  paste  made  of  the  finest  emery  flour  and  spirit 
of  turpentine. 

After  cleansing,  and  before  repolishing,  it  is  a  good 
plan  to  merely  moisten  the  face  of  the  work  with 
raw  linseed  oil,  for  this  causes  the  old  body  to  unite 
with  the  new  one. 

Where  shallow  dents,  scratches,  and  broken  parts 
of  the  polish  present  themselves,  carefully  coat  them 
two  or  three  times  with  a  thick  solution  of  shellac, 
and  when  tbe  last  coatings  become   hard,  rub  them 


upholsterer's  companion,  115 

with  soft  putty  until  they  become  uniformly  smooth 
and  even  then  proceed  to  repolish  the  general  sur- 
face. 


GENERAL   REMARKS   AND   USEFUL 
RECEIPTS. 

Ornaments  of  brass  must  be  well  heated  before 
they  receive  a  coat  of  lacquer. 

Equal  parts  of  marrow  oil,  prepared  ox-gall,  and 
ivory  black,  all  finely  mixed,  form  a  valuable  com- 
position for  renovating  old  hair  cloth. 

After  having  been  washed  with  spirit  of  turpentine, 
and  coated  with  colored  varnish,  old  faded  morocco 
looks  almost  as  well  as  new. 

Finely-varnished  carved  work  presents  a  highly- 
polished  appearance  after  it  has  been  nicely  smoothed 
with  an  oily  flannel. 

An  elaborate  piece  of  fine  carving  should  go 
through  the  following  process:  1st.  It  should  be 
smoothly  French  polished  to  a  good  extent.  2d. 
Sponged  or  brushed  with  a  thickish  solution  of  shel- 
lac in  spirit  of  wine.  3d.  Minutely  smoothed  with 
the  finest  glass-paper ;  this  is  the  most  difficult  pro- 
cess of  all,  and  it  requires  assiduous  and  careful  man- 
agement. 4th.  It  should  be  again  well  embodied 
with  polish,  and  then  evenly  coated  with  slake  ;  the 
slaking  must  be  done  with  care  and  precision.  5th. 
After  hardening  for  a  few  hours,  finish  with  a  rubber 
slightly  damped  with  thin  polish. 

Stains  of  ink  are  removed  from  writing  desks,  etc., 
by  embrocation  with  oxalic  acid,  or  spirit  of  salt. 
Stains  that  are  purely  alkaline  can  be  neutralized 
with  various  soluble  acids. 

Slight  indentations  may  be  erased  by  repeatedly 
pressing  wet  pieces  of  paper  upon  them  with  a  hot 
iron,  till  the  moisture  evaporates. 


176  CABINET-MAKER    AND 

The  approved  mode  of  treating  the  top  of  a  dining 
table,  is  to  French  polish  it  first,  to  glass-pajior  the 
polish  off  the  surface,  and  then  to  polish  it  with  oil. 

Raw  linseed  oil  is  the  only  fixed  oil  used  in  French 
polishing. 

French  polish  is  made  by  dissolving  twenty-eight 
ounces  (avoirdupois)  of  shellac,  and  one  and  a  half 
ounce  each  of  sandrac,  benzoin,  and  white  resin,  in  a 
gallon  of  O.  P.  finishing  spirit.  By  substituting  pure 
bleached  shellac  for  the  ordinary  brown  kind,  white 
polish  is  obtained. 

The  ingredients  of  common  varnish  are  nearly  sim- 
ilar to  those  of  polish,  but  are  somewhat  different  in 
their  proportions,  being  forty  ounces  of  shellac,  four 
ounces  of  resin,  five  ounces  of  benzoin,  two  ounces 
each  of  sandrac  and  white  resin,  to  the  gallon  of 
spirit. 

Finishing  varnish,  which  is  distinguished  by  the 
technical  name  of  slake,  is  prepared  by  dissolving  an 
ounce  of  mastic  and  five  ounces  of  benzoin  in  five 
gills  of  finishing  spirit. 

An  excellent  varnish  for  gilt  work  is  compounded 
thus  :  Seedlac,  in  grain,  25  parts;  gumlac,  80  ;  gam- 
boge, 45  ;  annotta,  40  ;  dragon's  blood,  35  ;  saffron,  30. 
The  two  lacs  are  mixed  and  dissolved  in  130  parts  of 
spirit  of  wine  ;  this  constitutes  the  varnish  ;  the  other 
ingredients  are  dissolved  separatelj^,  each  in  95  parts 
of  spirit;  these  form  the  tinctures  with  which  the 
varnish  is  colored  to  match  the  different  shades  of 
gold. 

Brass  lacquer  is  simply  a  solution  of  seedlac  and 
gamboge  in  alcohol. 

In  the  manufacture  of  each  of  the  prescribed  pre- 
parations, gums  and  resins  are  reduced  to  powder  and 
put  into  ajar  containing  the  proper  quantity  of  spirit. 
The  jar  is  kept  in  a  hot  bed  of  sand  or  water,  and  its 
contents  are  frequently  agitated  by  shaking  and  stir- 
ring until  they  unite  and  form  into  a  consistent  liquid. 


upholsterer's  companion.  177 

These  fluids  may  afterwards  be  either  thickened  with 
frum  or  resin,  or  tliinned  with  spirit  of  wine  or  recti- 
fied naphtha.  They  must  always  be  carefully  strained 
before  use. 

A  deep  blue  dye  is  obtained  by  dissolving  East 
Indian  indigo  in  arsenious  acid.  Arsenite  of  copper 
produces  a  beautiful  green  ;  and  here  are  directions 
for  making  another  green  stain:  Digest  a  quantity 
of  Roman  vitriol  in  boiling  water,  to  which  add  a 
eimilar  quantity  of  pearl-ash,  then  forcibly  agitate  the 
mixture,  and  finish  by  gradually  stirring  into  it  a 
small  allowance  of  pulverized  yellow  arsenic. 

Clarified  ox-gall  both  fixes  and  improves  a  great 
many  colors  ;  besides  being  useful  as  a  mordant,  it 
destroys  unctuous  matter;  and  when  consistently  used 
in  varnishes,  it  prevents  the  coatings  from  cracking 
when  they  become  old. 

In  slaking,  a  single  coat  is  so  very  thin  that  it 
sometimes  does  not  produce  the  desired  effect ;  in  such 
cases  a  second  coat  should  be  applied  as  soon  as  the 
first  one  becomes  dry.  It  is  an  extremely  bad  plan 
to  put  slake  on  newly-spirited  work,  or  to  reapply  it 
on  old  bodies. 

The  room  in  which  polishing  and  varnishing  are 
performed  necessarily  requires  to  be  free  from  damp- 
ness ;  and  its  temperature  must  not  fall  below  45°, 
nor  rise  higher  than  57°  Fahrenheit. 

Dexterous  stainers  can  dye  colorless  timber  in  imi- 
tation of  either  rosewood  or  mahogany,  with  merely 
a  strong  decoction  of  logwood 

A  deep  scarlet  stain  is  procured  by  macerating  red 
Sanders  in  rectified  naphtha. 

All  use  of  the  pastes  and  liquids  which  have  hitherto 
been  introduced  and  sold  as  "revivers,"  ought  to 
be  totally  abandoned,  because  their  properties  have 
all  been  experimentally  tested,  and  it  is  found  that 
tliey  prove  more  deleterious  than  beneficial;  hence 
nothing    is    more     successfully    employed    for    both 


178  CABINET-MAKER    AND 

"polish-reviving"  and  "oil-polishing "  purposes  than 
raw  linseed  oil,  moderately  thinned  with  turpentine 
or  spirit  of  wine. 

The  best  method  of  preserving  rubbers  and  sponges 
is  to  keep  them  in  a  close  tin  canister. 

In  the  act  of  eml)odying  or  spiriting,  the  wet  rubber 
should  never  be  allowed  to  stick  for  an  instant  to  the 
surface  of  the  polish. 

An  effectual  course  of  procedure  in  pore-filling  is  to 
make  use  of  the  usual  quantity  of  oil,  and  to  shake  a 
small  muslin  bag  containing  smoothly-ground  pumice- 
stone  repeatedly  over  the  job  while  it  is  being  em- 
bodied. Dry  plaster  of  Paris  is  frequently  used  in 
like  manner. 

Thin  panellings  for  doors  should  be  securely  tacked 
down  to  a  level  board,  with  their  fronts  uppermost, 
and  then  polished  with  a  large  round  flannel  rubber 
having  a  very  flat  sole.  But  before  fretted  panels  can 
be  treated  in  that  manner,  their  edges  require  to  be 
entireh'  finished  in  the  varnishing. 

Of  all  the  portions  of  furniture  which  come  under 
the  polisher's  care,  an  elaborate  fretting  of  rosewood 
is  perhajjs  the  most  difficult  to  manage ;  this  is  not  so 
much  attributable  to  fibrous  poriness  as  it  is  to  the 
extreme  delicacy  and  brittleness  of  the  united  members 
which  form  a  complete  panel  or  pediment.  Indeed,  to 
be  successful  in  putting  what  is  commonly  called  "a 
perfect  gloss  "  upon  the  finer  specimens  of  fretwork, 
patience  and  carefulness  must  constantly  accompany 
industrious  perseverance. 


INDEX. 


PAGB 

Anti-attrition,  to  make 134 

Barometer  scales,  to  silver 142 

Beech,  to  stain  a  mahogany  colour 66 

Bedsteads,  red  stain  for 68 

Bone,  to  stain  black 70 

red 69 

green 70 

blue 70 

yellow 70 

Boxwood,  to  stain  brown 72 

Brass  ornaments  inlaid  in  wood,  to  polish 56 

Brass  figures,  to  wash  over  with  silver 56 

Brass-work,  old,  to  clean  for  lackering 91 

Brass,  to  imitate,  in  colouring 33 

Bronze,     do.            do.              33 

Bronzing,  observations  on 85 

to  bronze  figures -. 85 

brass  figures  for  ornaments 87 

Bronze,  gold 97 

copper 98 

silver 98 

tin 99 

method  of  applying 99 

179 


180  INDEX. 

PAoa 

Brushes  for  varnishing,  to  keep  in  order 106 

Bulil-work,  observations  on 49 

shell  or  brass-work,  to  prepare  fur  cutting  out    60 

cutting  out  the  pattern 50 

gluing  up  the  pattern 51 

Cane  chair-bottoms,  to  clean 135 

to  restore  the  elasticity  of 135 

Carpets,  to  clean 140 

Cement,  mahogany  coloured 123 

bank-note 123 

turners' 124 

for  broken  glass 124 

to  stop  flaws  in  wood 125 

for  joining  china 125 

another  125 

stopping,  to  make 151 

Chairs,  common  red  stain  for 68 

Chisels,  and  other  edge  tools,  to  temper 154 

Crystallized  tin 144 

Clock  faces,  &c.,  to  silver 142 

varnish  for 143 

Cloth,  to  remove  oil  or  grease  from 138 

wax-spots  from 139 

Clouds,  to  imitate  in  colouring 35 

Colouring,  rudiments  of. 31 

Composition  ornaments  for  picture-frames,  &c 140 

Compound  lines  and  forms,  for  practice  in  drawing 19 

ornaments  and  scrolls 20 

Crimson  curtains,  to  imitate  in  colouring ,...  34 

Drawing,  first  essay  in 18 

Drawing,  rudiments  of,  as  applicable  to  articles  of  fur- 
niture      13 


INDEX.  181 

PAGE 

Drapery,  buff-coloured,  to  imitate 34 

chintz  do.  do 34 

Drapery,  white,  to  imitate 34 

Dyeing  wood,  observations  on 57 

the  kinds  best  suited  for 57 

Friction  varnishing,  or  French  polishing,  observations 

on 117 

French  polish,  the  true,  to  make 118 

another 119 

improved 120 

to  remove  dirt  or  grease  from 152 

Furniture,  to  varnish 105 

old,  to  clean  and  polish 122 

to  take  bruises  out  of. 133 

paste,  to  make 13G 

another  method 136 

oil,  to  make 137 

another  method 137 

Geometrical  terms  explained  .and  defined 21 

drawing,  definition  of 13 

Gilding,  observations  on 73 

requisites  necessary  for 74 

size  for  oil-gilding 74 

for  preparing  frames 75 

preparing  frames  or  wood-work  for 75 

to  polish  for 76 

gold-size  for 77 

preparing  frames,  &c.,  for 77 

laying  on  the  gold = 78 

burnishing 79 

matting,  or  dead  gold 80 

finishing 80 

16 


182  INDEX. 

PAOB 

Gilding,  burnishing  gold-size 83 

Gilding  metal,  by  dissolving  gold  in  aqua-regia 146 

Glass-paper 129 

Glue,  hints  in  melting  and  using 149 

Btrong,  for  inlaying,  &c 48 

for  inlaying  brass,  &c 56 

Glues  to  resist  moisture ,  126 

Gluing,  as  applicable  to  veneers  in  table-tops,  book-case 

fronts,  &c 46 

Green  baize,  to  imitate  in  colouring 33 

Gilt  poles,         do.              do.             34 

Glass,                do.             do.             33 

Ground,            do.              do.             35 

Grass,               do.              do.             35 

Grease,  to  remove  from  cloth 138 

Green  paint  for  garden  stands,  &c 148 

Gums,  directions  for  choosing 104 

Horn,  to  stain  in  imitation  of  tortoise-shell 69 

to  polish 116 

to  solder  or  weld 140 

India  japanning,  observations  on 94 

ground  for  Chinese  japan 95 

black  japan,  to  make 96 

to  trace  the  design 96 

to  raise  the  figures 96 

gold  bronze  for 97 

copper  bronze 98 

silver  bronze 98 

tin  bronze 99 

Inlaying  with  shaded  Avood 53 

with  silver  strings,  to  imitate 54 

Ivory,  to  stain  red 69 


INDEX.  183 


FAOB 


Ivory,  to  stain  black 70 

green 70 

blue 70 

yellow 70 

to  polish 115 

to  soften 139 

to  bleach 139 

to  silver 14G 

Japanning,  observations  on 92 

to  prepare  colours  for 92 

bronzes  adapted  for 97 

black  japan 93,  96 

black  rosewood,  to  imitate 93 

work-boxes,  &c 100 

Jasper,  to  clean 135 

King,  or  Botany-Bay  wood,  to  imitate  by  staining G8 

Lackering,  observations  on 88 

brass-work 88 

gold  lacker  for  brass 89 

another  lacker 89 

superior  lacker 90 

pale  gold-lacker 90 

lacker  with  spirits  of  turpentine 90 

work  in  brass  furniture,  to  clean 150 

Leather,  to  gild,  for  bordering  of  doors,  screens,  &c 83 

for  border  of  library-tables,  &c 84 

Liquid  for  brightening  and  setting  colours  in  dyeing 

wood , 61 

Liquid  foil,  for  silvering  glass  globes,  bent  mirrors,  &c.  82 

Looking-glass,  to  clean 147 


184  INDEX. 

PAOI 

Mahogany,  to  imitate  in  colouring 32 

to  clean  the  face  of 130 

work,  to  clean  and  finish 130 

light,  to  darken 131 

to  take  ink-spots  out  of 136 

Marble,  to  clean 135 

to  imitate  in  colouring 33 

porphyry,  to  imitate  in  colouring 33 

Sienna,           do.            do.             33 

Mona,             do.            do.             33 

black              do.            do.             34 

to  polish 116 

Mirrors,  to  clean 147 

Moulding,  to  resemble  wood,  to  cast 150 

Mountains,  to  imitate  in  colouring 35 

Musical  instruments,  to  stain  a  fine  crimson 71 

purple 71 

black 71 

blue 72 

green 72 

bright  yellow 72 

brown 72 

Oil,  spots  of,  to  remove  from  cloth  or  silk 138 

Ormolu,  to  imitate  in  colouring 33 

Ornaments  for  cabinet-work,  directions  for  drawing  of...  18 

their  terms  explained 36 

when  and  where  most  applicable  38 

Ornaments,  of  what  composed 36 

foliage 36 

mixed 36 

festooned 37 

arabesque 37 

winding 37 


INDEX.  185 

PAOI 

Ornaments,  serpentined,  or  running 37 

plaited 37 

guilloche 38 

fret 38 

mosaic 38 

buhl 38 

Ornaments  most  appropriate  for  hall-chairs 39 

library-chairs 39 

drawing-room  chairs 39 

card-tables 39 

library  and  writing-tables 40 

dining-tables 40 

drawing-room  tables 41 

sofas 41 

ottomans 41 

dressing-table,  or  toilette 41 

■window-seats 41 

cheval  dressing-glasses 42 

sideboards 42 

cot-bed 42 

bedsteads 43 

drawing-room  window  drapery 43 

libraries 43 

fire-screens 43 

to  resemble  wood,  to  cast 15 

Ormolu  ornaments,  to  clean 147 

Parchment,  to  render  transparent 138 

Paste  for  laying  cloth  or  leather  tops 127 

Perspective  terms  explained  and  defined 21 

Perspective  drawing,  definition  of 13 

illustrated  by  diagrams  and  experiments..  19 

Ketures,  to  clean 141 

another  receipt 142 


186  INDEX. 

PAOH 

Plaster  figures,  to  render  durable 144 

Portable  glue 123 

Purpli^'n',  to  clean 135 

Plates,  illustrative  of  cabinet  and  upholstery  work — 

Plate  1,  simple  lines  and  forms 19 

"     2,  simple  and  compound  do 19 

"     3,  compound  ornaments  and  scrolls 19 

"     4,  compound  ornaments  and  scrolls 20 

"     5,  examples  of  perspective 20 

Polishing,  observations  on 113 

varnish 114 

French,  method  of 114 

brass  ornaments  inlaid  in  wood 115 

ivory 115 

any  work  of  pearl 115 

marble 110 

Polish,  French,  to  make 118 

water-proof,  to  make 120 

bright,  to  make 121 

strong,  to  make 122 

for  turner's  work 134 

prepared  spirits  for,  to  make 121 

Polished  surface,  to  renew 149 

Prints,  figures  of,  to  make  appear  in  gold 112 

Purificatory  process  before  dyeing  wood 57 

Rivers,  to  imitate  in  colouring 35 

Rosewood,  to  imitate  in  colouring 32 

staining 07 

Satin-wood,  to  imitate  in  colouring 33 

Saws,  to  sharpen  and  set 132 

Scagliola,  to  clean 135 

Shadowing,  rudiments  of. 28 

Shell-gold,  to  make 81 


INDEX.  18t 

PAOZ 

Silvering 81 

observations  on 73 

Silver  furniture,  to  clean 135 

size,  to  make 81 

Simple  lines,  for  first  practice  in  drawing 18 

Silk,  to  remove  oil  or  grease  from 138 

wax  spots  from 139 

Sienna  marble,  to  clean 135 

Sky,  the,  to  imitate  in  colouring 34 

Solid  work,  to  clean  the  surface  of 149 

Spirits  of  wine,  directions  for  choosing 104 

Stippling,  how  to  perform 30 

Staining  wood,  observations  on 65 

Stain,  to  improve  the  colour  of  any 68 

Steel-scrapers,  good,  to  cut 132 

Tables,  to  remove  stains  from 149 

Tapestry,  to  clean 140 

Tools,  directions  in  the  choice  of 152 

to  temper 154 

Tortoise-shell,  to  veneer 48 

to  imitate  on  copper 56 

to  polish 116 

to  solder  or  weld 140 

Tracing  paper,  to  make 145 

Trees,  to  imitate  in  colouring 35 

Varnishing,  observations  on 102 

Varnish,  sealing-wax 101 

cautions  respecting  the  making  of 103 

directions  for  choosing  gums  and  spirits  for...  104 

white-hard,  to  make 106 

mastic,  for  pictures,  &c 107 

turpentine 107 


188  INDEX. 

FAQB 

Varni.^h,  for  violing 107 

for  drawings  or  card-work 108 

another  and  better  method 108 

amber 109 

oil 109 

copal 110 

colourless  copal 110 

turpentine  copal Ill 

for  prints,  &c.,  stands  water,  and  shines  like 

glass 112 

for  prints,  to  resemble  oil '. 113 

to  polish 114 

prepared  spirits  for 121 

for  clock  faces 143 

Velvet,  to  imitate  in  colouring 33 

Veneering,  observations  on 45 

as  applicable  to  card  and  other  tops,  &c 46 

Veneer,  in  buhl-work,  to  lay 52 

Veneers,  old,  to  raise  and  relay 47 

Veneered  surface,  to  clean 152 

Verd  antique,  to  imitate  in  colouring 33 

Water,  to  imitate  in  colouring; 35 

Water-proof  polish 120 

Wax,  black,  to  make 137 

green,    do 138 

spots  to  remove  from  cloth 139 

Window  curtains,  to  imitate  in  colouring 34 

Winding  foliage,  of  what  composed 37 

Wood,  to  bronze 86 

Wood,  to  dye  a  fine  black 58 

blue .'...  59 

yellow 60 

bright  yellow 61 


INDEX. 


189 


PAGI 

Wood,  to  dye  a  fine  bright  green 61 

green 62 

bright  red 62 

purple 63 

orange 64 

silver  gray 64 

gray 65 

Wood,  to  stain  a  fine  black  for  immediate  use 66 

beech  a  mahogany  colour 66 

another  black 66 

in  imitation  of  rosewood 67 

king  or  Botany-Bay  wood  68 

red,  for  bedsteads,  &.c .". 68 

Wood,  porous,  to  clean  the  face  of 130 

to  preserve  from  fire 148 


INDEX  TO  APPENDIX. 


PAGE. 

Alkaline  fluids,  use  of. 1.58 

Antique  hues  of  old  oaks 15G 

Artiticial  graining,  improv- 
ing   1.59 

Ash,  to  imitate  oak  with 101 

Eeech  Imitation 160 

Beech,    to    imitate    walnut 

with 16.3 

Beech  imitations 160 

Birch,    to     imitate    walnut 

with 163 

Black  stain 160 

Blue  dye,  a  deep 177 

Bra.ss  lacker 170 

Brass  ornaments,  lackering.  175 


PAGE. 

Brown  stain 160 

Brushes  used  in  spirit  var- 
nishing   169 

Cement  for  pore  filling 165 

Colors,  to  fix 177 

Darkness > 157 

Dining  table  top,  to  treat  a...  176 
Dyed     polishes     and     var- 
nishes, uses  of. 160 

Ebony  color 156 

Ebonv,  discolored,  improv- 
ing;   159 

Ebony,  to  imitate 162 


190 


INDEX. 


PAOK. 

Elrawood   In    imitation    of 

walnut IGl 

Embodying  and  sizing 1G4 

Fine  carving,  to  French  pol- 
ish    175 

Fir,  to  imitate  walnut  with  IKi 

French  polishing 171 

French  polish,  to  make 17G 

Graining,  artificial,  improv- 
ing   159 

Grounding 15G 

Haircloth,    composition   for 

renovating 175 

Hole  filling 1«4 

Honduras     mahogany,    im- 
proving   159 

Imitations 160 

Improving 158 

Ink  stains,  to  remove,  from 
writing  desks 175 

Lacker,  brass 176 

Light  yellowish  woods,  tones 
of 156 

Mahogany  color 156 

Malidgaiiy  color,  imitation...  160 

Maliogany,  improving 159 

Mahogany  stain IG'i 

Mahogany,  to  imitate,  with 

logwood  dj'e 177 

Maple,  improving l.")9 

Matching  of  woods 157 

Morocco,  to  renovate 175 

Oak,  old 156 

Oak  wainscot,  imitation 161 

Oil  polisliing 178 

Old  oak 156 

Painting 159 

Fanelings,    thin,    polishing 

of 178 

Plaster  Paris  for  pore  filling  1(;4 

I'olislies  antl  varnishes 160 

Polishing  shop 171 

Polish,  reviving 178 

Pore  closing lt;4 

Pore  filling 178 

Rags  for  French  polishing...  172 
Kaw  lins(!ed  oil   in   French 

jiolisliing 170 

Kcd  stain 100 

Kcpolishing 174 

Kevivers 177 

Kosewood  colors 150 


PAOK. 

Rosewood,  improving 159 

Rosewood,  to  imitate 102 

Rosewood,  to  imitate,  with 

logwood  dye 177 

Rosewood,  to  polish 178 

Rubbers  and  spf)nges,  to  pre- 
serve   178 

Rubbers  for  French  polish- 
ing   m 

Rubbings  in  French  polish- 
ing   172 

Rust,  viscid,  removal  of. 174 

Satin  wood  stain 162 

Scarlet  stain 177 

Size,  superficial 107 

Sizing  and  embodying 164 

Slacking 177 

Slake 176 

Smoothing 167 

Spirit  cloth 173 

Spiiit  varnishing 169 

Spiriting  in  French  polish- 
ing   173 

Sponges  and  rubbers,  to  pre- 
serve    178 

Staining,  directions  for 163 

Staining  wood 150 

Stephens,    llenrj',  composi- 
tions of. .• 162 

Stei)hens's  satin  wood  stain.  101 
Superficial  size 167 

Thin   panellings,   polishing 
of 178 

Varnish  carved  work,  to  oil.  175 

Varnish  dish 109 

Varnish  finishing  176 

Varnish  lor  gilt  work 176 

Varnish,  ingredients  of 170 

Varnishes      and      polishes, 

dyed 160 

Varnishfng  room 177 

Varnishing,  spirit 169 

Wainscot,  oak 156 

Walnut  color 1,56 

Walnut,  <lark,  to  imitate Hi3 

Walnut,  imitation  of 161 

Wash  color 156 

Washing 1.56 

Wettings  of  rubbei-s 172 

White  lead  for  jjore  filling...  Uib 

Whiting  lor  pore  tilling liia 

Wood  staining, 150 

Woods,  imitations  of 156 

Wooils,  uuilching  coloi's  of.  157 

Yellowish  woods 156 

Yellow  stain 160 


CATALOGUE 

PRACTICAL  AND  iiNTIPiC  BOOKS, 

HEMT  CAE,ET  BAIRD  &  CO, 

Industrial  Publishers  and  Booksellers, 
NO.    810    W^ALNUT    STREET, 


*^  Any  of  the  Books  comprised  in  this  Catalogue  will  be  sent  by  mail,  free  of 

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*W  A  Descriptive  Catalogue,  96  pages,  8vo,,  will  be  sent,  free  of  postage,  to  any 
one  who  will  furnish  the  publisher  with  his  address, 


ARLOT.— A  Complete  Guide  for  Coach  Painters. 

Translated  from  the  French  of  M.  Arlot,  Coach  Painter;  for  eleren 
years  Foreman  of  Painting  to  M.  Eherler,  Coach  Maker,  Paris.  By 
A.  A.  Fesquet,  Chemist  and  Engineer.  To  which  is  added  an  Ap- 
pendix, containing  Information  respecting  the  Materia\s  and  the 
Practice  of  Coach  and  Car  Painting  and  Varnishing  in  the  United 
States  and  Great  Britain.     12mo $^.£o 

ARMENGAUD,  AMOROUX,  and  JOHNSON.— The 
Practical  Draughtsman's  Book  of  Industrial  De- 
sign, and  Machinist's  and  Engineer's  Drawing 
Companion : 

Forming  a  Complete  Course  of  Mechanical  Engineering  and  Archi- 
tectural Drawing.  From  the  French  of  M.  Armengaud  the  elder,  Prof, 
of  Design  in  the  Conservatoire  of  Arts  and  Industry,  Paris,  nnd  MM. 
Armengaud  the  younger,  and  Amoroux,  Civil  Engineer?.  Rewritten 
and  arranged  with  additional  matter  and  plates,  selections  from  and 
examples  of  the  most  useful  and  generally  employed  mechanism  of 
the  day.  By  William  Johnson,  Assoc.  Inst.  C.  E.,  Editor  of  "  The 
Practical  Mechanic's  Journal."  Illustrated  by  50  folio  steel  plates, 
and  50  wood-cuts.    A  new  edition,  4to.  ....        $10.00 

1 


HENRY  CAREY  BAIRD'S   CATALOGUE. 


ARROWSMITH.— Paper-Hanger's  Companion : 

A  Treatise  in  whieh  the  Pnietieal  <  >i>erati<)iis  of  the  Trade  are  Svs- 
tematieally  hiid  down  :  with  Cdjiious  Direetidii^  lVei)arat<iry  to  Paper- 
ing; Preventives  again:<t  the  KUeet  of  Damp  on  ^\  alls  ;  the  Various 
Cements  and  Pastes  Adajjted  to  the  Several  Purposes  of  the  Trade ; 
Ohservatious  and  Direetions  for  the  Paiiellin^j;  and  Ornamenting  of 
Uuoms,  etc.  By  Jamks  Aiujuwsjutii,  Author  of  "Analysis  of  Dra- 
pery," etc.     12mo.,  cloth $1.25 

ASHTOlSr.— The  Theory  and  Practice  of  the  Art  of  De- 
signing Fanry  Cotton  and  Woollen  Cloths  from 
Sample : 

G.vinufnii  Instructions  for  Picducing  Drafts  as  well  as  the  Jfethods 
of  Spooling  and  Making  out  Harness  for  Cross  Drafts,  and  Finding 
any  Required  Reed,  with  Caleula'ions  and  Taijles  of  Yarn.  Ry 
Frederick  T.  Ashton,  Designer,  West  Pittsfield,  Mass.  With  52 
Illustrations.     One  volume,  4to $10.00 

BAIRD.— Letters  on  the  Crisis,  the  Currency  and  the 
Credit  System. 
By  Henry  Carey  Baird.    Pamphlet oc> 

BAIRD. — Prot lection  of  Home  Labor  and  Home  Pro- 
ductions necessary  to  the  Prosperity  of  the  Ameri- 
can Farmer. 
By  Henry  Carey  Baird.    8vo.,  paper 10 

BAIRD.— Some  of  the  Fallacies  of  British  Free-Trade 
Revenue  Reform. 

Two  Letters  to  Arthur  Latham  Perry,  Professor  of  Ilistorvand  Politi- 
cal Economy  in  Williams  College.  By  Henry  Carey  Baird. 
Pami)hlet 05 

BAIRD.— The  Rights  of  Ameiucan  Producers,  and  the 
Wrongs  of  British  Free- Trade  Revenue  Reform. 
By  IIknry  Carey  ISaird.     Pami)hlet 05 

BAIRD.— Standard  Wages  Computing  Tables  : 

An  Improvement  in  all  former  .Methods  of  ("ompntat'of,  so  arrantrod 
that  wages  for  days,  hours,  or  fractions  of  hours,  at  a  sj)ecified  rate  pi  r 
day  or  liour.  may  be  ascertained  at  a  glance.  By  T.  Spanglek  Bai  ri>. 
Oblong  folio C5.OU 

BAIRD.— The  American  Cotton  Spinner,  and  Mana- 
ger's and  Carder's  Guide : 
A  Practi(':il  Treatise  on  T'otlon  Spinning;  giving  the  Dimensions  and 
S])eed  of  Machinery,  Drauu'ht  and  Twist  Calculations,  etc.  ;  with 
notices  of  recent  Improvements  :  together  with  Pules  and  Examples 
for  makini;  changes  in  tiie  sizes  and  numl>crs  of  Roving  and  Yarn. 
Compiled  from  the  papers  of  the  late  Roukkt  il.  Baird.  12ma.    $1.50 


HENRY   CAREY   BAIRD'S  CATALOGUE. 


BAKER.— Long-Span  Railway  Bridges  : 

Comprisint,'  Invc>tigatiuus  of  the  Coiiiparalivc  Theoretical  and  Prac- 
tical AdvaiitayvH  of  the  various  Adopted  or  Proposed  Type  Systems 
of  ('onstruc'tioii ;  witii  numerous  Formula;  and  Tables.  By  B.  Baker. 
12mo IjiL'.UO 

BAUERMAN.— A  Treatise  on  the  Metallurgy  of  Iron  : 

Containing  Outlines  of  the  History  of  Iron  Manufacture,  Jletliods  of 
Assay,  and  Analysis  of  Iron  Ores,  Processes  of  JIanufacture  of  Iron 
and  Steel,  etc.,  etc.  By  H.  Bauerman,  F.  G.  S.,  Associate  of  the 
Royal  School  of  Mines.  First  American  Edition,  Revised  and  En- 
larged. With  an  Appendix  on  the  Martin  Process  for  Making  Steel, 
from  the  Report  of  Abram  S.  Hewitt,  U.  S.  Commissioner  to  the 
Universal  Exposition  at  Paris,  18t)7.     Illustrated.     12mo.       .      $2.00 

BEANS.— A  Treatise  on  Railway  Curves  and  the  Loca- 
tion of  Railways. 
By  E.  W.  Beans,  C.  E.     Illustrated.     12mo.     Tucks.      .      .       $1.50 

BELL.— Carpentry  Made  Easy : 

Or,  The  Science  and  Art  of  Framing  on  a  New  and  Improved  Systnn. 
With  Specific  Instructions  fof  Building  Balloon  Frames,  Barn  Frames, 
Mill  Frames,  Wan  houses,  Cluircli  S]>ir(s,  etc.  Comprising  also  a 
System  of  Bridge  Building,  with  Bills,  Estimates  of  Cost,  and  valuablt; 
Tables.  Illustrated  by  3S  ])lates,  comi)rising  nearly  200  figures.  By 
William  E.  Bell,  Architect  and  Practical  Builder.     8vo.      .    $o.0'0 

BELL.— Chemical  Phenomena  of  Iron  Smelting : 

An  Experimental  and  Practical  Examination  of  the  Circumstances 
which  determine  the  Capacity  of  the  Blast  Furnace,  the  Temperature 
of  the  Air,  and  the  proper  Condition  of  the  Materials  to  be  operated 
upon.     By  I.  LowTHiAN  Bell.     Illustrated.     8vo.      .        .        $6.00 

BEMROSE.— Manual  of  Wood  Carving  : 

With  Practical  Illustrations  for  Learners  of  the  Art,  and  Original  and 
Selected  Designs.,  Bv  WiLLlAM  Bemrose,  Jr.  With  an  Introduction 
by  Llewellyn  Jewitt,  F.  S.  A.,  etc.  With  128  Illustrations.  4to., 
cioth $3.00 

BICKNELL.— Village  Builder,  and  Supplement : 

Elevations  and  Plans  for  Cottav'es,  Villas,  Suburban  Residences, 
Farm  Houses,  Sta>>les  and  Carriage  Houses  Store  Fronts,  School 
Houses,  Churches,  Court  Houses,  and  a  model  .Tail ;  also.  Exterior  ami 
Interior  details  for  Public  and  Private  BnildinL's,  with  apjM-oyod 
Forms  of  Contracts  and  Specifications,  including  Prices  of  Building 
]\[aterials  and  Labor  at  Boston,  ]\Iass.,and  St.  Louis,  JIo.  Containing 
75  plates  drawn  to  scale;  showing  the  style  and  cost  of  building  in 
different  sections  of  the  country,  being  an  original  work  comprising 
the  designs  of  twenty  leading  architects,  representing  the  New  Eng- 
land, Middle,  Western,  and  Southwestern  States.     4to.         .        $10.0J 


4  HENRY   CAREY   BAIRD'S  CATALOGUE. 

BLENKARN.— Practical  Specifications  of  Works  exe- 
cuted in  Architecture,  Civil  and  Mechanical  Engi- 
neering, and  in  Road  Making  and  Sewering  : 

To  Avliifh  are  added  a  series  of  praetieally  useful  Ayreeuieuts  and  Re- 
ports. By  John  Blenkakn.  Illustrated  by  15  large  folding  plates. 
8V0.  $y.oo 

BLINN. — A  Practical  Workshop  Companion  for  Tin, 
Sheet-Iron,  and  Copperplate  Workers  : 

Contuiniiiir  Itules  for  descrihintc  vaiioiis  kinds  of  Patterns  used  by 
Tin,  Sheet-Iron,  and  Coj)i)er-plate  Workers;  Practieal  Geometry; 
Mensuration  of  Surfaces  and  Solids;  Tables  <  f  the  Weights  of  Metals, 
Lead  Pipe,  etc.  ;  Tal)les  of  Areas  and  Circumferences  of  Circles; 
Japan,  Varnishes,  Lackers,  Cements,  Compositions,  etc.,  etc.  By 
Lkkoy  J.  Bj.inx,  Master  Mechanic.  With  over  100  Illustrations. 
V2mo.  .         .         .         ,' $2.50 

BOOTH.— Marble  Worker's  Manual : 
Containing  Practical  Information  respecting  Marbles  in  general,  their 
Cutting,  Working,  and  Polishing;  Veneering  of  ^larble;  ^Mosaics: 
Composition  and  Use  of  Artificial  Marble,  Stuccos,  Cements,  Receipts, 
Secrets,  etc.,  etc.  Translated  from  the  French  by  M.  L.  Booth. 
M'ith  an  Appendix  concerning  American  Marbles.  12mo.,  cloth.    $1.50 

BOOTH  AND  MORPIT.— The  Encyclopedia  of  Che- 
mistry, Practical  and  Theoretical : 

Embracing  its  ai)i)lication  to  the  Arts,  ^letallurgy.  Mineralogy,  Ge- 
ology, Medicine,  and  Pharmacy.  By  James  C.  Booth,  Meltcr  and 
Refiner  in  the  United  States  Mint,  Professor  of  Applied  Chemistry  in 
the  Franklin  Institute,  etc.,  assisted  by  CAMPBELL  MORFIT,  author 
of  "Chemical  Manipulations,"  etc.  Seventh  edition.  Roj-al  Svo., 
JI78  pages,  with  numerous  wood-cuts  and  other  illustrations. "  ,     ^5.00 

BOX.— A  Practical  Treatise  on  Heat: 

As  applied  to  tlie  Useful  Arts  ;  for  the  I'se  of  Er.gineers,  Architects, 
etc.  By  Thomas  Box,  author  of  "  Practieal  Hydraulics."  Illustrated 
by  14  jdates  containing  114  figures.     12mo.     ."      ...         .         $5.00 

BOX.— Practical  Hydraulics  : 

A  Series  of  Rules  an<l  Tables  for  the  use  of  Engineers,  etc.  By 
Thomas  Box.     li'mo $2.50 

BROWN.— Five     Hundred     and     Seven     Mechanical 

Movements 


HENRY  CAREY   BAIRD'S  CATALOGUE.  5 

BUCKMASTER.— The  Elements  of  Mechanical  Phy- 
sics: 

By  J.  C.  BuCKMASTER,  late  Stiuieiit  iii  the  Ooverninent  School  of 
Mines;  C'ertilieil  Teaelier  of  Seietiee  by  the  I-)fi)artiiieiit  of  Science 
and  Art;  Examiner  in  Chemistry  and  Physics  in  the  Uoyal  College 
of  l'reci'])t()rs;  and  late  Lectur(;r  in  Chemistry  and  Piiysics  of  the 
Royal  Polytechnic  Institute.  Illustrated  with  numerous  engravings. 
In  one  volume,  12ino $1.50 

BULLOCK.— The  American  Cottage  Builder : 

A  Series  of  Designs,  Plans,  and  S])ecifications,  from  $200  to  $20,000, 
for  Homes  for  the  People ;  together  with  VVarming,  Ventilation, 
Drainage,  Painting,  and  Landscape  ( Jardening.  By  JoiIN  BuLLOCK, 
Architect,  Civil  Engineer,  Jlechanician,  and  Editor  of  "  The  Rudi- 
ments of  Architecture  and  Building,"  etc.,  etc.  Illustrated  by  75  en- 
gravings.    In  one  volume,  Svo.        ......         $3.50 

BULLOCK.  —  The    Budiments    of    Architecture    and 
Building : 

For  the  nse  of  Architects,  Builders,  Draughtsmen,  Machinists,  Engi- 
neers, and  Mechanics.  Edited  by  .JoiiN  BuLLOCK,  author  of  "The 
American  Cottage  Builder."  Illustrated  by  250  engravings.  In  o-ie 
volume,  Svo $3.50 

BURGH.— Practical  Illustrations  of  Land  and  Marine 
Engines : 
Showing  .in  detail  the  Modern  Improvements  of  High  and  Low  Pres- 
sure, Surface  Condensation,  and  Super-heating,  together  witi  Land 
and  Marine  Boilers.  By  N.  P.  BURGII,  Engineer.  lUustnted  by 
20  plates,  double  elephant  folio,  with  text.  .        .        .        $21.00 

BURGH.— Practical  Rules  for  the  Proportions  Ox"  Mo- 
dern Engines  and  Boilers  for  Land  and  Marine 
Purposes. 
By  X.  P.  BUKGII,  Engineer.     12rao $1.50 

BURGH.— The  Slide-Valve  Practically  Considered. 

By  N.  P.  Bfrgh,  Engineer.     Completely  illustrated.     12mo.       $2.00 

BYLES.— Sophisms  of  Free  Trade  and  Popular  Politi- 
cal Economy  Examined. 
By  a  Baruister  (Sir  John  Barnard  Byi.es,  Judge  of  Common 
Pleas).  First  American  from  the  Ninth  English  Edition,  as  published 
by  the  ^lanchester  Reciprocity  Association.  In  one  volume,  12mo. 
Paj)er,  75  cts.     Cloth $1-25 

BYRN.— The  Complete  Practical  Brewer  : 

Or  Plain,  Accurate,  and  Thorough  Instructions  in  the  Art  of  Brewing 
Beer,  Ale,  Porter,  including  the  Process  of  making  Bavarian  Beer, 
all  the  Small  Beers,  such  as  Root-beer,  Ginger-pop,  Sarsaparilla- 
luer,  Mead,  Spruce  Beer,  etc.,  etc.  Adapted  to  the  nse  of  Piiblic 
]?rewers  and  Private  Families.  By  M.  La  Fayette  Byrn,  M  D. 
VV'itit  illustrations,     12mo, $1.25 


6  HENRY  CAREY   IJAIRD'S  CATALOGUE. 

B  YRN.— The  Complete  Practical  Distiller : 

Comprising  the  most  jierfei-t  and  exact  Theoretical  and  Practical  De- 
scription oftlie  Art  of  Distillation  and  itectilication  ;  including  all  of 
the  most  recent  ini])roveinents  in  distilhng  apjtaratus;  instructions 
for  pre])aring  spirits  from  the  num:.'rous  vegetal)les,  fruit,s,  etc.;  direc- 
tions for  the  distillation  and  i)reparation  of  all  kinds  of  brandies  and 
other  sjiirits,  sjiirituous  and  other  compounds,  etc.,  etc.  By  M.  La 
Fayette  1>ykn,  M.  D.  Eighth  Edition.  To  which  are  added,  Prac- 
tical Directions  for  Distilling,  from  the  Erench  of  Th.  Eling,  Brewer 
and  Distiller.    12mo $1.50 

BYRNE.— Handbook  for  the  Artisan,  Mechanic,  and 
Engineer : 

Comprising  the  Grinding  and  Sharpening  of  Cutting  Tools,  Abrasive 
Processes,  Lapidary  Work,  Gem  and  Glass  Engraving,  Varnishing 
and  Lackering,  Apparatus,  Materials  and  Processes  ibr  Grinding  and 
Polishing,  etc.  liy  Oi.IVEK  Bykne.  Illustrated  by  Ibo  wood  en- 
gravings,    in  one  volume,  bvo.         .         .         .         .       "  .         .         ^iJ.CiO 

BYEjN'E.— Pocket  Book  for  Railroad  and  Civil  Engi- 
neers : 
Containing  New,  Exact,  and  Concise  Jlethods  for  laying  out  Rail- 
road Curves,  Switches,  Frog  Angles,  and  Crossings;  the  Staking 
out  of  work;  Levelling;  the  Calculation  of  Cuttings;  Embankments; 
Earth-work,  etc.  By  Oliver  Byrxe.  ISnio.,  full  bound,  pocket- 
book  form $1.75 

BYRNE.— The  Practical  Model  Calculator : 

For  the  Engineer,  Mechanic,  Manufacturer  of  Engine  "Work,  Xaval 
Architect,  Miner,  and  Millwright.  By  OLIVER  BYRNE.  1  volume, 
8vo.,  nearly  (JOO  pages $4.50 

BYRNE.— The  Practical  Metal-Worker's  Assistant: 

Comi)rising  Metallurgic  Chemistry  ;  the  Arts  of  Working  all  Metals 
and  Alloys;  Forging  of  Iron  and  Steel;  ILirdening  and  Temjtering; 
Melting  and  Mixing;  Casting  and  Founding;  Works  in  Sheet  Metal; 
The  Processes  Dependent  on  the  Ductility  of  the  Metals;  Soldering; 
and  tlie  most  Im]>roved  Processes  and  Tools  eni[(loyed  bv  Metal- 
workers. With  the  Application  of  tiiv  Art  of  Electro-Metallurgy  to 
^fanufacturing  Processes;  collected  from  Original  Sources,  and  from 
the  Works  of  Jloltzapft'el,  15ergeron,  Leujjold,  I'lumier,  Xajjier, 
Beoffern,  Clay,  Fairbairn,  and  otliers.  By  OLIVER  Byrxe.  A  new, 
reviseil,  anil  improved  edition,  to  which  is  added  An  Aj)j)endix,  con- 
taining The  Manikac  tire  ok  Rissian  Sheet-Iron.  By  .John 
Percy,  ;m.  D.,  F.R.S.  The  Manikactere  of  Malleable  Iron 
Ca.stings,  and  Improve.ments  in  Be.ssemer  Steel.  By  A.  A. 
Fekquet,  Cluanist  and  Engineer.  With  over  000  Engravings,  illus- 
trating every  JJranch  of  the  Suiyect.     Hvo $7.00 

Cabinet  Maker's  Album  of  Furniture : 

Comjirising  a  Collection  of  Designs  for  Furniture.  Illustrated  by  48 
Large  and  Beautifully  Engraved  Plates.  In  one  vol.,  oblong        $.3.50 


HENRY  CAREY   BAIRD'S  CATALOGUE. 


CALLINGHAM.— Sign  Writing  and   Glass   Emboss- 
ing: 

A  Coini)lete  Practical  Illustraleil  Manual  of  the  Art.  By  James 
Callixcjiiam.     Ill  one  voluiue,  iL'mo $1.5U 

CAMPIN  —A  Practical  Treatise  on  Mechanical  Engi- 
neering : 

Comprising  Jletalluricy,  JIouldin<;,  Casting,  Forging,  Tools,  Worl<- 
kIio])  Machinery,  Mec.ianical  Manipulation,  Manufacture  of  Steam- 
engines,  etc.,  etc.  Witli  an  Aj)penilix  on  tlie  Analysis  of  Iron  and 
Iron  Ores.  By  Francis  Campin,  C.  E.  To  which  are  added,  Obser- 
vations on  the  Construction  of  Steam  Boilers,  and  Remarks  upon 
Furnaces  used  for  Smoke  Prevention ;  with  a  Chapter  on  Explosions. 
By  R.  Armstrong,  C.  E.,  and  John  Bourne.  Rules  for  Calculating 
the  Change  Wheels  for  Screws  on  a  Turning  Lathe,  and  for  a  Wheel- 
cutting  Machine.  By  J.  La  Nicca.  Management  of  Steel,  Includ- 
ing Forging,  Hardening,  Tempering,  Annealing,  Shrinking,  and  Ex- 
)iansio!i.  And  the  Case-hardening  of  Iron.  By  G.  Ede.  Hvo.  Illus- 
trated with  L'J  ]>lates  and  100  wood  engravings        .         .         .         SO. 00 

CAMPIW.— The  Praotice  of  Hand-Turning  in  Wood, 
Ivory,  Shell,  etc. : 

With  Instructions  for  Turning  such  works  in  Metal  as  may  be  re- 
quired in  the  Practice  of  Turning  Wood,  Ivory,  etc.  Also,  an  Appen- 
dix on  Ornamental  Turning.  By  Franuis  Campin;  with  Numerous 
Illustrations.     12mo.,  cloth $3.00 

CAREY.— The  Works  of  Henry  C.  Carey  : 
FINANCIAL  CRISES,  their  Causes  and  Effects.    8vo.  paper  .        25 
HARMONY   OF  INTERESTS:   Agricultural,  Manufacturing,  and 

Commercial.    8vo.,  cloth $1.50 

MANUAL  OF  SOCIAL  SCIENCE,  Condensed  from  Carey's  "  Prin- 
ciples of  Social  Science."  By  Kate  McKeax.  1  vol.  12rao.  $2.25 
MISCELLANEOUS  WORKS  :  comprising  "  Harmony  of  Interests," 
"Money,"  "Letters  to  the  President,"  "  Financial"  Crises,"  "  The 
Way  to  Outdo  England  Without  Fighting  Her,"  "Resources  of 
the  Union,"  "  The  Public  Debt,"  "  Contraction  or  Expansion  ?  " 
"  Review  of  the  Decade  lS57-'67,"  "  Reconstruction,"  etc.,  etc. 
Two  vols.,  8vo.,  cloth 

PAST,  PRESENT,  AND  FUTURE.     8vo $2.50 

PRINCIPLES  OF  SOCIAL  SCIENCE.     .3  vols.,  8vo.,  cloth      $10.00 
THE  SLAVE-TRADE,  DOMESTIC  AND  FOREIGN ;  Why  it  Ex- 
ists, and  How  it  may  be  Extinguished  (1S53).  8vo.,  cloth      .     $2.00 
LETTERS  ON  INTERNATIONAL  COPYRIGHT  (1867)      •.        50 
THE  UNITY  OF  LAW :  As  Exhibited  in  the  Relations  of  Physical, 
Social,   ^lental,  and   Moral  Science  (1872),     In  one  volume,  Svo., 
p]).  xxiii.,  433.     Cloth $3.50 

CHAPMAN.— A  Treatise  on  Ropemaking : 

As  Practised  in  private  and  public  Rope  yards,  with  a  Description 
of  the  Manufacture,  Rules,  Tables  of  Weights,  etc.,  adapted  to  the 
Trades,  Shippint;,  Mining,  Railways,  Builders,  etc.  By  Robert 
CllArriAN.    24mo $1.50 


8  HENRY  (^AREY  BAIRD'S  CATALOGUE. 

COLBURN.— The  Locomotive  Engine  : 

IiK'liidiag  a  Dcscrijitioii  of  its  SiriR-lure,  Hiilcs  for  Estimating  its  Capa- 
bilities, and  Prautieal  Observations  on  its  Cor.struetion  and  Manage- 
ment. By  Zekaii  COLBLKN.  Illustrated.  A  new  edition.  12mo.    ^l.l!5 

CRAIK.  — The    Practical   American    Millwright   and 
Miiler. 
By  David  Ck aik,  Millwright.     Illustrated  by  nunu-rous  wood  en- 
gravings, and  two  folding  plates.     Svo $5.00 

DE  GRAFF.— The  Geometrical  Stair  Builders'  Guide : 

Being  a  Plain  Praetieal  System  of  lland-lLailing,  enibraeing  all  its 
necessary  Details,  and  Geometrically  Illustrated  by  22  Steel  Engrav- 
ings;  togetlier  with  the  use  of  the  most  api)roved  principles  of  Prac- 
tical (ieometry.     By  SiMON  De  GUAl'F,  Architect.     4to.        .        $5.00 

JOE  KONINCK.— DIETZ.— A  Practical  Manual  of  Che- 
mical Analysis  and  Assaying : 

As  ajiplied  to  the  ilanufacture  of  Iron  from  its  Ores,  and  to  Cast  Iron, 
Wrouglit  Iron,  and  Steel,  as  found  in  Coitinierce.  By  L.  L.  De  Kon- 
INCK,  Dr.  Sc,  and  E.  Dietz,  Engineer.  Edited  with  ^otes,by  Robert 
MalL"et,  F.R.S.,  F.S.G.,  M.I.O.E.,  etc.  American  Edition,  Edited 
■with  Notes  and  an  Apjiendix  on  Iron  Ores,  by  A.  A.  Fesquet,  Chemist 
and  Engineer.     One  volume,  12mo. $2.50 

DUNCAN.— Practical  Surveyor's  Guide: 

Containing  the  necessary  inf^irrnation  to  make  any  person,  of  common 
capacity,  a  finished  land  surveyor  without  the  aid  of  a  teacher.  By 
Andrew  Duncan.     Illustrate<l.     12mo.,  cloth.    .        .        .        $1.25 

DXTPLAIS. — A  Treatise  on  the  Manufacture  and  Dis- 
tillation of  Alcoholic  Liquors : 

Comprising  Accurate  and  Complete  Details  in  Regard  to  Alcohol  from 
Wine,  Molasses,  Beets,  Grain,  Rice,  Potatoes,  Sorghum,  Asphodel, 
Fruits,  etc.  ;  with  the  Distillation  and  Rectification  of  Brandy,  Whis- 
key, Rum,  Gin,  Swiss.  Absinthe,  etc.,  the  Preparation  of  An)matie  Wa- 
ters, Volatile  Oils  or  Essences,  Sugars,  Syrups,  Aromatic  Tinctures, 
LifpHMirs,  Cordial  Wines,  Elfervescing  AVines,  etc.,  the  Aging  of  Brandy 
and  the  Improvement  of  Spirits,  with  Copious  Directioi.s  and  Tables 
for  Tcstinj;  and  Peilucing  Sj»ii-itnous  Uqiiors,  etc.,  etc.  Translated 
and  Edited  from  the  Frencii  of  >rM.  DriM.Ais,  Ain<' et  Jenne.  By 
M.  McKennie,  M.D.  To  which  are  added  the  United  States  Internal 
Revenue  Regulations  for  the  Assessment  and  Collection  of  Taxes  on 
Distilled  Sf>irits.  Illnstratwl  by  fourteen  folding  plates  and  several 
wood  engravings.     TA'.i  j>p.,  SVo $10.00 

DUSSAUCE.— A  General  Treatise  on  the  Manufacture 
of  Every  Description  of  Soap : 

Com]irising  the  ( 'hemistry  of  tiic  Art,  with  Remarks  on  Alkalies,  Sa- 
jKiuifiable  Fatty  Bodies,  the  apparatus  neci'ssary  in  a  Soap  Fnf'tory, 
I'ractieal  Iii-truetions  in  the  niaiinfacturc  of"  the  various  kinds  of  Soaj). 
the  assay  of  Soaps,  etc.,  etc.  Edited  from  Notes  of  Larme,  Fontenelle, 
!Malai>ayre,  Dnfour,  an<l  others,  with  large  and  important  additions  by 
Prof.  II".  DUSSALX'E,  Chemi.st.    Illustrated.    Inone  vol.,8vo.     .    $12.50 


HENRY  CAREY  BAIRD'S  CATALOGUE.  0 

DUSSAUCE.— A  General  Treatise  on  the  Manufacture 
of  Vinegar : 

Theoretical  and  Practical.  Comprising  the  various  Methods,  by  the 
Slow  ami  the  (,2ii'*i'i  Processes,  with  Alcohol,  Wine,  Grain,  Malt,  Cider, 
Molasses,  and  LJeets  ;  as  well  as  the  Fabrication  of  Wood  Vinegar,  etc., 
e  c.     By  Prof.  II.  Du.sSArcE.     In  one  volume,  8vo.       .         .         !j;5.0U 

DUSSAUCE.— A  New  and  Complete  Treatise  on  the 
Arts  of  Tanning,  Currying,  and  Leather  Dressing : 

Coniprisiug  all  the  Discoveries  and  Improvements  made  in  France, 
Great  Britain,  and  the  United  States.  Edited  from  Notes  and  Docu- 
ments of  Messrs.  Sallerou,  Grouvelle,  Duval,  Dessables,  Labarraque, 
Payen,  Rene,  De  Fontenelle,  Malapeyre,  etc.,  etc.  By  Prof.  H.  Dus- 
SAUCE,  Chemist.     Illustrated  by  L'12  wood  engravings.     8vo.      $25.00 

DUSSAUCE.— A  Practical  Guide  for  the  Perfumer  : 

Being  a  New  Treatise  on  Perfumery,  the  most  favorable  to  the  Beauty 
without  being  injurious  to  the  Health,  comprising  a  Descrijjtion  of  the 
substances  used  in  Perfumery,  the  Formulae  of  more  than  1000  Prepa- 
rations, such  as  Cosmetics,  Perfumed  Oils,  Tooth  Powders,  Waters, 
Extracts,  Tinctures,  Infusions,  Spirits,  Vinaigi'es,  Essential  Oils,  Pas- 
tels, Creams,  Soajis,  and  many  new  Hygienic  Products  not  hitherto 
described.  Edited  from  Notes  and  Documents  of  Messrs.  Debay,  La- 
nd, etc.  With  additions  by  Prof.  H.  DusSAUCE,  Chemist.  12mo. 

DUSSAUCE.— Practical    Treatise    on  the  Fabrication 

of  Matches,  Gun  Cotton,  and  Fulminating  Powders. 

By  Prof.  H.  Dissauce.     12mo i?3.00 

Dyer  and  Color-maker's  Companion: 

Containing  upwards  of  200  Receijits  for  making  Colors,  on  the  most 
approved  principles,  for  all  the  various  styles  and  fabrics  now  in  exist- 
ence; with  the  Scouring  Process,  and  i)lain  Directions  for  Prei)aring, 
Washing-oif,  and  Finishing  the  Goods.     In  one  vol.,  12mo.       .     Jl.2.3 

EASTON.— A  Practical  Treatise  on  Street  or  Horse- 
power Railways. 

Bv  Alexander  Easton,  C.  E.  Illustrated  by  23  plates.  8vo., 
cloth $3.00 

ELDER.— Questions  of  the  Day : 

Economic  and  Social.    By  Dr.  William  Elder.    8vo.       .        $3.00 

FAIRBAIRN.— The  Princir)les  of  Mechanism  and  Ma- 
chinery of  Transmission : 

Comprisintr  the  Princi])les  of  Mechanism,  Wheels,  and  Pulleys, 
Strength  and  Proportions  of  Shafts,  Coupling  of  Shafts,  and  Engaging 
and  Diseniraging  Gear.  Rv  Sir  William  Faiucaiex,  C.E.,  LL.D., 
F.R.S.,  F.G.S.  Beautifully  illustrated  by  over  150  wood-cuts.  In 
one  volume,  12mo S2.50 

FORSYTH.— ^ook  of  Designs  for  Headstones,  Mural, 
and  other  Monuments : 
Containing  78  Designs.     By  James  Forsyth.     With  an  Introduction 
by  Charles  Boutell,  M.  A.    4to.,  cloth $5.00 


10  HENRY  CAREY  BAIRD'S  CATALOGUE. 

GIBSON.— The  American  Dyer: 

A  Practical  Treatise  on  tlie  Colorini;  of  Wool,  Cotton,  Yarn  and 
Cloth,  in  three  jiarts.  Part  First  gives  a  descriptive  account  of  th-} 
Dye  Sturt's;  if  of  veLretabie  origin,  where  j>roducod,  how  cultivated, 
ami  how  ]>rej)ared  for  use;  if  ciieiuical,  tiieir  composition,  sj)ecific 
gravities,  and  general  adaptal>ility,  how  adulterated,  and  how  to  de- 
tect the  adulterations,  etc.  Part  (Second  is  tlevoted  to  tlie  ('(doring  of 
Wool,  giving  recipes  for  one  hundred  and  twenty-nine  ditlereiit  colors 
or  shades,  and  is  snjiplicd  with  sixty  colored  sani]>les  of  Wool.  J'art 
Third  is  devoted  to  tlie  Coloring  of  Raw  Cotton  or  Cotton  Waste,  for 
mixing  with  Wool  Ct)lors  in  the  Manufacture  of  all  kinds  of  Fabrics, 
gives  recipes  for  thirty-eight  ditlerent  colors  or  sliades,  and  is  sui>plied 
with  twenty-four  colored  samples  of  Cotton  Waste.  Also,  recipes  for 
Coloring  Beavers,  Doeskins,  and  Flannels,  with  remarks  uj)on  Ani- 
lines, giving  recipes  for  fifteen  difl'erent  colors  or  shades,  and  nine 
samples  of  Aniline  Colors  that  will  stand  both  the  Fulling,  and  Scour- 
ing process.  Also,  recipes  for  Aniline  Colors  on  Cotton  Thread,  and 
recipes  for  Common  Colors  on  Cotton  Yarns.  Embracing  in  all  over 
two  hundred  recipes  for  Colors  and  Shades,  and  ninety-four  samples 
of  Colored  Wool  and  Cotton  Waste,  etc.  By  RiCHAKU  II.  Giusox, 
Practical  Dyer  and  Chemist.     In  one  volume,  Svo.      .         .  $0.00 

GILBART. — History  and  Principles  of  Banking  : 

A  Practical  Treatise.  By  .Tames  W.  Gilbart,  late  Manager  of  the 
London  and  Westminster  Bank.  With  additions.  In  one  volume, 
8vo.,  tiOO  jiages,  sheep $5.00 

Gothic  Album  for  Cabinet  Makers : 

Comprising  a  Collection  of  Designs  for  Gotliie  Furniture.  Illustrated 
by  23  large  and  beautifully  engraved  jjlates.     Oblong  .        .        $'2.03 

GRANT.  — Beet-root    Sugar   and    Cultivation    of   the 
Beet. 
By  E.  B.  Grant.    12mo $1.25 

GREGORY.— Mathematics  for  Practical  Men : 

Ailaptcil  to  the  Pursuits  of  Svirvcyors,  Architects,  Mechanics,  anc 
Civil  Engineers.    By  Oi.iNTiiis  <iKK(;()iiY.    Mvo.,  i)hites,  cloth    $.'?.0(! 

GRISWOLD. — Railroad  Engineer's  Pocket   Compan- 
ion for  the  Field : 

Comj>risiMg  Itules  for  Calculating  Deflection  Distances  and  Angles, 
Tangential  Distances  and  Angles,  and  all  Necessary  Tables  for  Engi- 
neers; also  tlie  art  of  Levelling  from  Pridiminary  Survey  to  the  Con- 
struction of  Railroads,  intended  Expressly  for  the  Young  Engineer, 
together  with  Numerous  Valuable  Rules  and  Examples.  By  W. 
Grisvvold.      r2mo.,  tucks '$1.75 

GRUNER.— Studies  of  Blast  Furnace  Phenomena. 

I?y  M.  L.  (iut'N'KK,  President  of  the  General  Couiu-il  of  Mines  of 
I'Vanee,  antl  lately  Professor  of  Mttalliirt;y  a(  the  I'.colc  dis  Mines. 
Translated,  with  tlie  .Author's  sanction,  with  an  Ajijjeiidix,  by  Ij.  D.  B. 
Gordon,  F.  U.S.  E..F.  (J  S.     Illustrated.     Svo.      .        .        ."       $2.50 


HENRY  CAREY  BAIRD'S  CATALOGUE.  11 

GUETTIER.— Metallic  Alloys: 

Being  ii  Practical  Guide  to  their  Chemical  and  Physical  Properties, 
tlieir  Preparation,  Composition,  and  Uses.  Translated  from  the 
French  of  A.  (jUETTIKR,  Entjiiiecr  and  Director  of  Foundries,  author 
of  "La  Fouderie  en  France,"  etc.,  etc.  By  A.  A.  Fesquet,  Cliemist 
and  Engineer.     In  one  volume,  IL'mo $3.00 

HARRIS. — Gas  Superintendent's  Pocket  Companion. 

By  IL\RKis  &  Brother,  Gas  Meter  Manufacturers,  1115  and  1117 
Ciierry  Street,  Philadelphia.    Full  bound  in  pocket-book  form    $1.00 

Hats  and  Felting: 

A  Practical  Treatise  on  their  JIanufacture.  By  a  Practical  Hatter. 
Illustrated  by  Drawings  of  Machinery,  etc.    8vo.'  .        .        .        $1.25 

nOFMANlSr.— A  Practical  Treatise  on  the  Manufac- 
ture of  Paper  in  all  its  Branches. 

By  Caul  IIofmanx.  Late  Superintendent  of  paper  mills  in  Ger- 
many and  the  United  States ;  recently  manager  of  the  Public  Ledger 
Paper  Mills,  near  Elkton,  Md.  Illustrated  by  110  wood  engravings, 
and  five  large  folding  plates.  lu  one  volume,  4to.,  cloth;  398 
pages $15.00 

HUGHES.— American  Miller  and  Millwright's  Assist- 
ant. 

By  Wm,  CaeTEB  HrcinES,   A  new  edition.    In  one  vol.,  12mo.  $1.50 

HURST.— A  Hand-Book  for  Architectural  Surveyors 
and  others  engaged  in  Building: 

Containing  Forraulte  useful  in  Designing  Builder's  work.  Table  of 
"Weights,  of  the  materials  used  in  Building,  Memoranda  connected 
with  Builders'  work,  Mensuration,  the  Practice  of  Builders'  Measure- 
ment, Contracts  of  Labor,  Valuation  of  Property,  Summary  of  the 
Practice  in  Dilapidation,  etc.,  etc.  By  J.  F,  Hurst,  C.  E.  Second 
edition,  pocket-book  form,  full  bound     .....        $2.00 

JERVIS.— Railway  Property : 

A  Treatise  on  the  Construction  and  Management  of  Railways ;  de- 
signed to  ftfibrd  useful  knowledge,  in  the  popular  style,  to  the  holders 
of  this  class  of  property ;  as  well  as  Railway  Managers,  Officers,  and 
Agents.  By  .John  B.  Jeuvis,  late  Chief  Engineer  of  the  Hudson 
River  Railroad,  Croton  Aqueduct,  etc.    In  one  vol.,  12mo.,  cloth  $2.00 

JOHNSTON.— Instructions  for  the  Analysis  of  Soils, 
Limestones,  and  Manures. 

By  J.  F.  W.  Johnston.    12mo 


12  HENRY  CAREY  BAIRD'S  CATALOGUE. 

KEENE.— A  Hand-Book  of  Practical  Gauging: 

iur  iIk-  Use  of  i;c.;iimcrs,  to  wliicli  is  addcil,  A  riiai)ter  on  Distills, 
tioii,  ili'scribiiiic  tlie  process  in  ()i>eration  at  the  (.'iistoni  House  t'ot 
ascertaininjr  the  strength  of  wines.  By  Jamks  B.  Keene,  of  II.  M. 
I'ustonis.     tivo.  .........         $1.25 

KELLEY.— Speeches,  Addresses,  and  Letters  on  In- 
dustrial and  Financial  Questions. 
By  Hon.  William  D.  Kelley,  M.  (.'.     In  one  volume,  544  jtagef, 
^vo i^o.OO 

KENTISH.— A  Treatise  on  a  Box  of  Instruments, 

And  the  Slide  Rule  ;  ■with  the  Theory  of  Tritrononietry  and  Loga- 
rithms, including  Practical  Geometry,  Surveying,  Measuring  of  Tim. 
ber,  Cask  and  Malt  Gauging,  Heights,  and  Distances.  By  Thomas 
Kentish.    In  one  volume.    12mo. $1.25 

KOBELL.—ERNI.— Mineralogy  Simplified : 

A  short  ^lethod  of  Determining  and  Classifying  Minerals,  by  moans 
of  simple  Chemical  Experiments  in  the  Wet  AVay.  Translated  from 
the  last  German  Edition  of  F.  Vox  Kobell,  with  an  Introduction  to 
Blow-pipe  Analysis  and  other  additions.  J?y  Heniii  Ekm,  JI.  D., 
late  Chief  Chemist,  Department  of  Agriculture,  author  of  "  Coal  Oil 
and  Petroleum."     In  one  volume,  12mo.         ....        $2.50 

LANDRIN.— A  Treatise  on  Steel: 

Comprising  its  Tlieory,  ^letallurgy.  Properties,  Practical  Working, 
and  Use.  By  M.  H.  C.  Laxdiun,  .Ir..  (  ivil  Engineer.  Translated 
from  the  French,  with  Notes,  by  A.  A.  I'^ESQIET,  Chemist  and  Engi- 
neer. AVitli  an  Apj)endix  on  the  Bessemer  and  the  ^larlin  Processes 
for  Manufacturing  Steel,  from  the  Report  <.f  Al)ram  S.  Hewitt,  United 
States  Commissioner  to  the  Universal  Exposition,  Paris,  18C7.  In  one 
volume,  12mo. i^S.OG 

LARKIN.— The  Practical  Brass  and  Iron  Founder's 
Guide  : 
A  Concise  Treatise  on  Brass  Founding,  Moulding,  tiie  Metals  and  their 
Alloys,  etc. :  to  which  are  added  Recent  Improvements  in  the  Manu- 
facture of  Iron,  Steel  by  the  Bessemer  Process,  etc.,  etc.  By  James 
Lakkin,  late  Conductor  of  the  Brass  I'oundry  De])arlnient  in  Rcaiiy, 
Neafie  &  Co's.  Penn  AV<»rks,  Philadel]iliia.  l-'ifJi  edition,  revi.sed, 
with  Extensive  additions.     In  one  volume,  12mo.  .        .        $2.25 

LEAVITT.— Facts  about  Peat  as  an  Article  of  Fuel: 

With  Remarks  uj)on  its  Origin  and  Co'upos  tion,  the  Localities  in 
Mliich  it  is  found,  tlie  Methods  of  Pre])araii<>n  and  Manufacture,  and 
the  various  Uses  to  which  it  is  applical)le;  together  witii  many  other 
matters  of  Practical  and  Scientilic  Interest.  To  which  is  adde<l  a  chaj)- 
ter  on  tlic;  Utilization  of  Coal  Dust  with  Peat  for  tiie  Production  of  an 
ICxcelieiit  Fuel  at  Moiierate  Cost,  specially  «dapte<l  for  Steam  Service. 
\ly  T.  H.  Leavitt.     Third  edition.     12iuo.  .        ,        .        $1.75 


HENRY   CAREY   BAIRD'S  CATALOGUE.  13 

LEROUX,  C  — A  Practical  Treatise  on  the  Manufac- 
tuje  of  Worsteds  and  Carded  Yarns: 

Comprising  Practical  Mechanics,  with  Rules  and  ("alculations  applied 
to  Spinning;  Sorting,  Cleaning,  and  Scouring  Wools;  tlie  English 
and  French  methods  of  Combing,  Drawing,  and  Spinning  Worsteds 
and  Manufacturing  Carded  Yarns.  Translated  from  the  French  of 
Charles  Leroux,  Meelianical  Engineer,  and  Superintendent  of  a 
Spinning  Mill,  by  HoBATio  Paine,  M.  D.,  and  A.  A.  FEsiiUKT, 
Ciiemist  and  Engineer.  Illustrated  by  12  large  Plates.  To  which  is 
added  an  Ajjpendix,  containing  extracts  from  the  Reports  of  the  Inter- 
national Jury,  and  of  the  Artisans  selected  by  the  Committee  appointed 
by  the  Council  of  the  Society  of  Arts,  London,  on  Woollen  and  Worsted 
Machinery  and  Fabrics,  as  exhibited  in  the  Paris  Universal  Exposi- 
tion, 1867.     8vo.,  cloth iia.OO 

LESLIE  (Miss).— Complete  Cookery: 

Directions  for  Cookery  in  its  Various  Branches.  By  Miss  Leslie. 
60th  thousand.  Thoroughly  revised,  with  the  addition  of  New  Re- 
ceipts.    In  one  volume,  12mo.,  cloth $1.50 

LESLIE  (Miss).— Ladies'  House  Book: 

A  Manual  of  Domestic  Economy.     20th  revised  edition.     12mo.,  cloth. 

LESLIE  (Miss) — Two  Hundred  Receipts  in  French 
Cookery. 

Cloth,  12mo. 

LIEBER.— Assayer's  Guide : 

Or,  Practical  Directions  to  Assayers,  Miners,  and  Smelters,  for  the 
Tests  and  Assays,  by  Heat  and  by  Wet  Processes,  for  the  Ores  of  all 
the  principal  Metals,  of  Gold  and  Silver  Coins  and  Alloys,  and  of 
Coal,  etc.     By  OscAR  M.  Lieber.     12mo.,  cloth.  .        .        $1.25 

LOTH.— The  Practical  Stair  Builder: 

A  Com])lete  Treatise  on  the  Art  of  Building  Stairs  and  Iland-Rails, 
Designed  for  Carpenters,  Builders,  and  Stair-ijuilders.  Illustrated 
with  Thirty  Original  Plates.  By  C.  Edward  Loth,  Professional 
Stair-Builder.     One  large  4to.  volume.  ....        $10.00 

LOVE. — The  Art  of  Dyeing,  Cleaning,  Scouring,  and 
Finishing,  on  the  Most  Approved  English  and 
French  Methods: 

Being  Practical  Instructions  in  Dyeing  Silks,  Woollens,  and  Cottons, 
Feathers,  Chips,  Straw,  etc.  Scouring  and  Cleaning  Bed  and  Window 
Curtains,  Carpets,  Rugs,  etc.  French  and  English  Cleaning,  any 
Color  or  Fabric  of  Silk,  Satin,  or  Damask.  By  Thomas  Love,  a 
Working  Dyer  and  Scourer.  Second  American  Edition,  to  which  are 
added  General  Instructions  for  the  Use  of  Aniline  Colors.  In  one 
volume,  8vo.,  343  pages. $5.00 


14  HENRY  CAREY   BAIRD'S   CATALOGUE 


MAIN   and    BROWN.— Questions    on    Subjects    Con- 
nected with  the  Marine  Steam-Engine  : 

And  Exiimination  Papers :  with  Hints  for  their  Solution.  By  Thomas 
J.  Main,  Professor  of  Matlieniatics,  Royal  Naval  College,  anil  TnOMAS 
liliuwx,  Chief  Engineer,  R.  N.     12mo".,  cloth.        .         .         .         $1.50 

MAIN  and  BROWN.— The    Indicator    and    Dynamo- 
meter: 

With  their  Practical  Applications  to  the  Steam-Engine.  By  THOMAS 
J.  Main",  M.  A.F.  R.,  Assistant  Professor  Royal  Naval  College,  Ports- 
mouth, and  THOMA.S  Browx,  Assoc.  Inst.  C.  E.,  Chief  Engineer,  R. 
N.,  attached  to  the  Royal  Naval  College.  Illustrated.  From  the 
Fourth  London  Edition.     8vo. $1.50 

MAIN  and  BROWN.— The  Marine  Steam-Engine. 
By  Thomas  J.  Maix,  F.  R.  ;  Assistant  8.  Mathematical  Professor  at 
the  Royal  Naval  College,  Portsmouth,  and  Thomas  Browx,  Assoc. 
Inst.  C.  E.,  Chief  Engineer  R.  N.  Attached  to  the  Royal  Naval  Col- 
lege. Authors  of  "  Questions  connected  with  the  Marine  Steam-En- 
gine," and  the  "  Indicator  and  Dynamometer."  With  numerous  Illus- 
trations.    In  one  volume,  8vo. $5.00 

MARTIN.— Screw-Cutting  Tables,  for  the  Use  of  Me- 
chanical Engineers : 

Showfng  the  Projier  Arrangement  of  Wheels  for  Cutting  the  Threads 
of  Screws  of  any  required  Pitch  ;  with  a  Tahle  for  Making  the  l^ni- 
versal  Gas-Pipe  Thread  and  Taps.  By  W.  A.  Maktix,  Engineer. 
8vo 50 

Mechanics'  (Amateur)  Workshop: 

A  treatise  containing  plain  and  concise  directions  for  the  manipula- 
tion of  Wood  and  ^letals,  including  Casting,  Forging,  Brazing,  Sol- 
dering, and  Carpentry.  By  the  author  of  the  "  Latiie  and  its  Uses." 
Third  edition.     Illustrated".     8vo .$3.00 

MOLESWORTH.— Pocket-Book  of  Useful  Formulae 
and  Memoranda  for  Civil  and  Mechanical  Engi- 
neers. 
By  GriLFORD  L.  MoLESWORTH,  Member  of  the  Institution  of  Civil 
Engineers,  Chief  Resident  Engineer  of  the  Ceylon  Railway.  Second 
Ameriean,  from  the  Tenth  London  Edition.  In  one  volume,  full 
bound  in  })ocket-book  form $2.00 

NAPIER.— A  System  of  Chemistry  Applied  to  Dyeing. 

By  .Jamks  NaI'IKR,  F.  C.  S.  A  New  and  Thoroughly  Revised  Edi- 
tion. Completely  l)rouglit  up  to  the  present  state  of  the  Science,  inclu- 
ding the  Clifinistry  of  Coal  Tar  Colors,  by  A.  A.  Fksijcet,  Ciiemist 
an<l  lOngineer.  With  an  Appendi.x  on  Dyeing  and  Calico  Printing,  as 
shown  at  tlie  Universal  E.xjjosition,  Paris,  18(i7.  Illustrated,  In  one 
V^olume,  8vo.,  422  ])ages $5.00 


HENRY  CAREY  BAIRD'S  CATALOGUE.  15 

NAPIER.— Manual  of  Electro-Metallurgy : 

Inoliuliiii,'  tliii  Ai)j)]ieatioii  of  tlu;  Art  to  ilaiiutkctiiriiii^  Processes.  By 
Jamks  ISAPiKii.  Fourtli  Aiufrii-aii,  from  tlie  i-'ourlli  London  edition, 
reviseil  and  enlarged.  Illustrated  by  engravings,  in  one  vol.,  Svo.  $2.00 

NASON.— Table  of  Reactions  for  Qualitative  Chemical 
Analysis. 

By  Henry  B.  Nason,  Professor  of  Chemistry  in  the  Rensselaer  Poly- 
technic Institute,  Troy,  New  York.     Illustrated  by  Colors.        .         (3.'5 

NEWBERY.— Gleanings  from  Ornamental  Art  of 
every  style : 
Drawn  from  Examples  in  the  British,  Sotith  Kensington,  Indian, 
Crystal  Palace,  an('  '(ther  Museums,  the  E.\hibitions  of  1851  and  1862, 
and  the  best  Eng'x/<  and  Foreign  works.  In  a  series  of  one  hundred 
exquisitely  drawn  Plates,  containing  many  hundred  examj)les.  By 
RoBKRT  Newbery.    4to $12.50 

NICHOLSON.— A  Manual  of  the  Art  of  Bookbinding : 

Containing  full  instructions  in  the  different  Branches  of  Forwarding, 
Gilding,  and  Finishing.  Also,  the  Art  of  Marbling  Book-edges  and 
Paper.     By  James  B.  NicholsoX.     Illustrated.     l::mo.,  cloth.   $2.25 

NICHOLSON.— The  Carpenter's  New  Guide: 

A  Complete  Book  of  Lines  for  Carpenters  and  Joiners.  By  PETER 
Nicholson.  The  whole  carefully  and  thoroughly  revised  by  H.  K. 
Davis,  and  containing  numerous  new  and  improved  and  original  De- 
signs for  Roofs,  Domes,  etc.  By  Samuel  Sloan,  Architect.  Illus- 
trated by  SO  plates.     4to. 

NORRIS.— A  Hand-book  for    Locomotive    Engineers 
and  Machinists : 

Comprising  the  Proportions  and  Calculations  for  Constructing  Loco- 
motives ;  Manner  of  Setting  Valves ;  Tables  of  Squares,  Cubes,  Areas, 
etc.,  etc.  By  Sfptimi'S  Norris,  Civil  and  Mechanical  Engineer. 
New  edition.     Illustrated.     12nio.,  clotii $1.50 

NYSTROM.— On    Technological    Education,   and   the 
Construction  of  Ships  and  Screw  Propellers : 

For  Naval  and  Marine  Engineers.  By  John  W.  Nystrom,  late  Act- 
ing Chief  Engineer,  U.  S.  N.  Second  edition,  revised  with  additional 
matter.     Illustrated  by  seven  engravings.     12mo.  .         .        $1.50 

O'NEILL.— A  Dictionary  of  Dyeing  and  Calico  Print- 
ing: 

Containing  a  brief  account  of  all  the  Substances  and  Processes  in  use 
in  the  Art  of  Dveing  and  Printing  Textile  Fabrics ;  with  Practical 
Receipts  and  Scientific  Information.  By  CHARLES  O'Neill,  Ana- 
lytical Chemist ;  Fellow  of  the  Chemical  Society  of  London  ;  Member 
of  the  Literarv  and  Philosophical  Society  f  f  Manchester  ;  Author  of 
"Chemistry  of  Calico  Printing  and  Dyeing."  To  which  is  added  an 
Essav  on  Coal  Tar  Colors  and  their  application  to  Dyeing  and  Calico 
Printing.  By  A.  A.  Fesquet,  Chemist  and  Engineer.  With  an  A])- 
pendix  on  Dyeing  and  Calico  Printing,  as  shown  at  the  Universal 
Exposition,  Paris,  1867.     In  one  volume,  8vo.,  491  pages.      ,        ^.00 


16  HENRY  CAREY  BAIRD'S  CATALOGUE. 

ORTON.— Underground  Treasures : 

How  and  Where  to  Find  Them.  A  Key  for  the  Ready  Determination 
of  all  the  Useful  Minerals  within  the  United  States.  By  Jamks 
Orto.V,  a.  M.     Illustrated,  iL'nio $1.50 

OSBORN.— American  Mines  and  Mining: 

Theoretically  and  Practically  Considered.  By  Prof.  11.  S.  OSBORX. 
Illustrated  by  numerous  engravings.     8vo.     {In  preparation.) 

OSBORN.— The  Metallurgy  of  Iron  and  Steel : 

Theoretical  and  Practical. in  nil  its  Branches;  with  special  reference 
to  American  Materials  and  Processes.  By  H.  S.  OiSBORX,  LL.  D., 
Professor  of  Minini;  and  Metallursjry  in  Lafayette  College,  Easton, 
Pennsylvania.  Illustrated  by  numerous  large  folding  plates  and 
wood-engravings.     8vo. $15.00 

OVERMAN.— The  Manufacture  of  Steel : 

Ciiutainiiii,'  the  Practice  and  Princi])les  of  Working  and  Making  Steel. 
A  HamlliDiik  for  Blacksmiths  and  Workers  in  Steel  and  Iron,  Wagon 
Makers,  Die  Sinkers,  Cutlers,  and  ■Manufacturers  of  Files  and  Hard- 
ware, of  Steel  and  Iron,  and  for  Men  of  Science  and  Art.  By  Fred- 
erick Overman,  Mining  Engineer,  Author  of  the  "  Manufacture  of 
Iron,"  etc.  A  new,  enlarged,  and  revised  Edition.  By  A.  A.  Eesquet, 
Chemist  and  Engineer $1.50 

OVERMAN.— The  Moulder  and  Pounder's  Pocket 
Guide  : 
A  Treatise  on  Moulding  and  Founding  in  Green-sand,  Dry-sand,  Loam, 
and  Cement;  the  MouUling  of  Machine  Frames,  ^lill-gear.  Hollow- 
ware,  Ornaments,  Trinkets,  Bells,  and  Statues  ;  Description  of  iloulds 
for  Iron,  Bronze,  Brass,  and  other  Metals  ;  Plaster  of  Paris,  Sulphur, 
Wa.\,  and  other  articles  commonly  used  in  Casting;  the  Construction 
of  Melting  Furnaces,  the  Melting  and  Founding  of  Metals  ;  the  Com- 
position of  Alloys  and  their  Nature.  With  an  Aj)peudi.>c  containing 
Receipts  for  Alloys,  Bronze,  Varnishes  and  Colors  for  Castings;  also. 
Tables  on  the  Strength  and  other  qualities  of  Cast  Metals.  By  Fred- 
erick Overman,  Mining  Engineer,  Author  of  "  The  Manufacture 
of  Iron."     With  42  Illustrations.     12mo $1.50 

Painter,  Gilder,  and  Varnisher's  Companion: 

Containing  Piulcs  and  Regulations  in  everything  relating  to  the  Arts 
of  Painting',  (iildiiiu',  Varnishing,  Glass-Staining,  Graining,  Marbling, 
Sign-Writing,  (iilding  on  Glass,  and  Coach  Painting  and  Varnishing; 
Tests  for  the  Detection  of  Adulterations  in  Oils,  Cidors,  etc. ;  an(l  a 
Statement  of  the  Disea'scs  to  which  Painters  are  peculiarly  liable,  with 
the  Simplest  and  Best  Remedies.  Si.xteeiith  Edition.  Revised,  with 
an  .\pi)endix.  CoiitaininL'  Colors  and  Colorin;,' -  Theoretical  and 
Practical,  ('omprisiri','  descriptions  of  a  great  variety  .;('  Additional 
Pigments,  their  (Qualities  and  L'ses,  to  which  are  added,  Dryers,  and 
Modes  and  Operations  of  Painting,  etc.  Together  with  (^hevreul's 
Princii>les  of  Harmony  and  Contrast  of  Colors.     12mo.,  cloth.       $1.50 


HENRY  CAREY  BAIRD'S  CATALOGUE.  u 


^^  G^fdY'""^^^  Miller's,  Millwright's,  and  Engineer's 

By  Henry  Pallett.     Illustrated.     In  one  volume,  12nio.        $3.00 

PERCY.-The  Manufacture  of  Russian  Sheet-Iron 

Bv  .John  Percy,  M  D.,  F.R.S.,  Lecturer  on  Metulhn-v  at  the  Uov.I 
behool  of  Mines,  and  to_  The  Advanced  Class  of  Artillerv  OfiieerC  a 
U-  H^'Mi  ^y^'P^^y  institution,  Woolwich;  Author  of  "  MetallurM- '' 
\V  ith  Illustrations.    «vo.,  paj^er -,o-t 

PERKINS.— Gas  and  Ventilation. 

Practical  Treatise  on  Gas  and  Ventilation.  W-th  Special  Relation  tn 
I  lununating,   Heating    and  Cooking  by  Gas.     InS     g  8dent  1  c 

S^F  pS?^'":''','^""*'  T'',"*''"'^-  ^^'^^'^  lll»strat..ri)iagra,  s' 
li>  li.  L.  I  B.KKINS.    121110.,  cloth Si"' 

PERKINS  and  STOWE.-A  New  Guide  to  the  Sheet- 
iron  and  Boiler  Piate  Roller  :  o"e«L 

Containing  a  Series  of  Table^  showing  the  AVeight  of  Slabs  and  Piles 
to  produce  Boiler  Plates,  and  of  the  Weight  of  Piles  and  the  Sizes  of 
Bars  to  produce  Sheet-iron;  the  Thiclcness  of  the  Bar  Gauge  "n 
decimals-^;  the  Weight  per  foot,  and  the  Thickness  on  the  Bar  or^Vire 
^hTr^  •  L  fractional  parts  of  an  inch  ;  the  AVeight  j.er  sheet,  and 
5n  Jj  ?  i?f  n"  ^^'^  V'^  ,9^"^"  of  Sheet-iron  of  various  dimensions 
to  weigh  12  lbs.  per  bundle;  and  the  conversion  of  Short  Weight 
into  Long  W  eight,  and  Long  Weight  Into  Short.  Estimated  and  col- 
lected by  G.  H.  PERKIN.S  and  J.  G.  Stowe $2.50 

^^^^J\?^.^'i'^  DARLINGTON.-Records  of  Mining 
and  Metallurgy;  ^ 

Or  Facts  and  Memoranda  for  the  use  of  the  Jline  Agent  and  Smelter 
Bv  J.  Arthur  Phillips,  Mining  Engineer,  Graduate  of  the  Lnperial 
School  of  Mines,  France,  etc.,  and  John  Darlington.  Illustrated 
by  numerous  eugraviugs.    lu  one  volume,  12mo.  .        .        $].5o 

PROTEAUX.— Practical  Guide  for  the   Manufacture 
of  Paper  and  Boards. 

By  A  PROTEAUX,  Civil  Engineer,  and  Graduate  of  the  School  of  Arts 
and  Jlanufactures,  and  Director  of  Thiers'  Paper  Mill,  Puv-de-Dr.nie 
\V  ith  additions,  by  L.  S.  Le  Normand.  Translated  from  the  French" 
with  Notes,  by  HoRATio  Paine,  A.  B.,  M.  1).  To  which  is  added  a 
Uiapter  on  the  Manufacture  of  Paper  from  Wood  in  the  United 
States,  by  Henry  T.  Brown,  of  the  "American  Artisan"  Illus- 
trated by  SIX  plates,  containing  Drawings  of  Raw  Materials,  Jlachi- 
nery.  Plans  of  Paper-Mills,  etc.,  etc.     Svo $10.00 

EEGNAULT.— Elements  of  Chemistry. 
By  M.  V.  Regnault.  Translated  from  the  French  by  T  Forrest 
Betton,  M.  D.,  and  edited,  with  Notes,  by  Jame.s  C.  Booth,  Melter 
and  Refiner  U.  S.  Mint,  and  Wm.  L.  Faber,  Metallurgist  and  Mining 
I'.ngiueer.  Illustrated  by  nearly  700  wood  engravings.  Comprisin" 
uearly  1500  pages.    In  two  volumes,  8vo.,  cloth.    ...        $7.50 


IS  IIEXRY  r.VltKY   IJAIRD'S   CATALOGUE. 


REID.— A  Practical  Treatise  on  the  Manufacture  of 
Portland  Cement : 
By  IliCNKY  ItKiD,  C.  E.  To  which  is  added  a  Translation  of  M.  A. 
Lipiiwit/.'s  ^\'()rk,  describini^  a  New  Method  ado])ted  in  Germany  I'm- 
Maiiufaituriii;,'  That  Cement,  by  W.  F.  Reid.  Illustrated  by  plates 
and  wood  engravings.     8vo ?5.00 

EIFFAULT,  VERGNATJD,  and  TOUSSAINT.-A 
Practical  Treatise  on  the  Manufacture  of  Var- 
nishes. 

T5y  M  M.  Piii  FAULT,  Yergxaud,  and  Toussaixt.  Revised  and 
Edited  by  M.  F.  MaleI'EYKE  and  Dr.  Emil  WlXCKLEIl.  Illustrated. 
In  on(!  volume,  8vo.     (In  ^preparation.) 

RIFFAULT,  VERGNAUD,  and  TOUSSAINT.— A 
Practical  Treatise  on  the  Manufacture  of  Colors 
for  Painting : 

Containing  the  )«,'st  Fornuihe  and  the  Proeesses  the  Newest  and  in 
most  General  F-se.  I>y  M  M.  Itli  rAlLT,  YElUiNAiD,  and  TorsSAlNT. 
Revised  and  Edited  l)y  M.  F.  .Malei'eyke  and  Dr.  Emii.  Wincklek. 
Translated  from  the  French  by  A.  A.  FEStji'ET,  Chemist  and  Engi- 
neer.    Illustrated  by  Engravings,     lu  one  volume,  U50  pages,  8vo. 

$7.50 

ROBINSON.— Explosions  of  Steam  Boilers: 

How  they  are  Caused,  and  how  they  may  be  Prevented.  By  J.  R. 
RoBlxso'x,  .Steam  Engineer.     12mo.        .  "     .        .        .        ,    '    $1.25 

ROPER.— A  Catechism  of  High  Pressure  or  Non- 
Condensing  Steam-Engines : 

Ineluiling  the  Modelling,  < 'onstnicting.  Running,  and  jranagement 
of  Hteam  Engines  and  Steam  Boilers.  Yv'itii  Illustrations.  By 
Stepuen  Roper,  Engineer.    Full  bound  tneks    .        .        .        $2.00 

ROSELEUR.— Galvanoplastic  Manipulations : 

A  Practical  (inide  f'r  the  Gold  and  Silver  Elcctro-|iIater  and  the 
Galvanoplastic  0])erator.  Translated  from  the  Frcncii  of  Ai.i'RED 
RcSELEfR,  Chemist,  Professor  of  the  (;-ilvanoi)lastic  Art,  Manufactu- 
rer of  Chemicals,  (Jold  and  Silver  ]0!ectro-]>later.  By  A.  A.  Fesquet, 
Chemist  and  Engineer.     Illustrated  by  over  127  Engravings  on  wood. 

8vo.,  4f».5  i)ages ' $f).00 

^ir^i^  This  Trrathc  is  the  fullest  and  hij  far  the  best  on  this  subject  ever 
published  in  the  United  States. 

SCHINZ.— Researches  on  the  Action  of  the  Blast 
Furnace. 
By  Charles  Sciiixz.  Translated  from  the  German  with  the  special 
permission  of  the  Author  liy  William  II.  Maw  and  Moritz  ^Dl- 
l.ER.  With  an  Ap]>endix  written  by  the  Author  expressly  for  this 
edition.  Illustrated  by  seven  i)lates,  containing  28  figures.  In  one 
volume,  12nio. $4.00 


HENRY  CAREY  BAIRD'S  CATALOGUE.  19 

SHAW.— Civil  Architecture : 

Being  a  CoiniiKtc  Theoretical  and  Practical  System  of  rJuildinj?,  con- 
taining the  I'lindaiiicntal  I'riiieijilc ;  ot'tlic  Art.  15y  Edwaiu)  Shaw, 
Architect.  To  wliich  is  added  a  Treatise  on  (jothic  Arclutecture,  etc. 
By  Thomas  W.  Silloway  u:id  Ukuuge  51.  IIaiiding,  Architects. 
The  whole  illustrate  1  l)y  One  Hundred  and  Two  quarto  jilate.i  finely 
engraved  on  copper.      Eleventh  Edition.     4to.,  cloth.  .         $10.gI) 

SHXJWK.— A   Practical   Treatise    on    Railway  Curves 
and  Location,  for  Young  Engineers. 
By  William  F.  Siiixk,  Civil  Engineer,     li'rao.  .        .        02.00 

SLOAW.— American  Houses: 

A  variety  of  Original  I^e3igns  for  Rural  Buildings.  Illustrated  by  26 
colored  Engravings,  witli  I)cscri])tive  References.  By  Samuel  Sloax, 
Architect,  author  of  the  "  Model  Architect,"  etc.,  etc'.     8vo.  vl-SO 

SMEATOjS".— Builder's  Pocket  Companion: 

Containing  the  Elements  of  Building,  Surveying,  and  Architecture; 
with  Practical  Rules  and  Instructions  connecte  1  v.ith  the  subject. 
By  A.  C.  Smeaton,  Civil  Engineer,  etc.     In  one  volume,  lilnio.     01.50 

SMITH.— A  Manual  of  Political  Economy. 
By  E.  Peshine  Smith.     A  new  Edition,  to  wliich  is  added  a  full 
Index.    12mo.,  cloth $1.25 

SMITH.— Parks  and  Pleasure  Grounds: 

Or  Practical  Notes  on  Country  Residences,  Villas,  Public  Parks,  and 
Gardens.  By  Charles  H.  J.  Smith,  Landscape  Gardener  and 
Garden  Architect,  etc.,  etc.     12mo. $2.25 

SMITH.— The  Dyer's  Instructor: 

Comprising  Practical  Instructions  in  the  Art  of  Dyeing  Silk,  Cotton, 
Wool,  and  Worsted,  and  Woollen  Goods :  containing  nearly  800 
Receipts.  To  which  is  added  a  Treatise  on  the  Art  of  Padding ;  and 
the  Printing  of  Silk  Warps,  Skeins,  and  Handkerchiefs,  and  the 
various  Mordants  and  Colors  for  the  different  styles  of  such  work. 
By  David  Smith,  Pattern  Dyer.     12nio.,  cloth.    .        .        ,        $3.00 

SMITH.— The  Dyer's  Instructor: 

Conii)rising  Practical  Instructions  in  the  Art  of  Dyeing  Silk,  Cotton, 
Wool,  and  Worsted  and  Woollen  Goods.  Third  Edition,  with  many 
additional  Receipts  for  Dyeing  the  New  Alkaline  Blues  and  Night 
Greens,  witli  Dyed  Patterns  affixed,     12mo.,  pp.  394,  cloth.     .    $10.50 

STEWART.— The  American  System. 

Speeches  on  the  Tariff  Question,  and  on  Internal  Improvements,  princi- 
pally delivered  in  the  House  of  Representatives  of  the  United  States. 
By  Andrew  Stewart,  late  M.  C.  from  Pennsylvania.  With  a  Portrait, 
and  a  Biographical  Sketch.    In  one  volume,  8vo.,  407  pages.      $3.00 


20  HENRY   CAREY   BAIRD'S   CATALOGUE. 

STOKES. — Cabinet-maker's  and  Upholsterer's  Com- 
panion : 
Comprisinir  the  Rudiments  and  Principles  of  Cabinet-making  and  Up- 
holstery, wiili  Familiar  Instructions,  illustrated  by  Examples  for 
attaining  a  Proficiency  in  the  Art  of  Drawing,  as  applicable  to  Cabi- 
net-work ;  the  Proce.isc;^  of  Veucjrinir,  Inlaying,  and  Buhl-work  ;  the 
Art  of  Dyeing  and  .Staining  Wood,  Done,  Tortoise  Shell,  etc.  Direc- 
tions for  Lackering,  Japanning,  and  Varnishing;  t.)  make  Frcr.cli 
Polish;  to  jjrepare  the  I5c:'.t  (Jlues,  Cements,  and  Compositions,  and  a 
number  of  Receii)ts  ])articularly  useful  for  workmen  gcnerallj-.  Ey 
J.  Stokes.     In  one  volume,  12mo.     With  Illustrations.        .        $1.25 

Strength  and  other  Properties  of  Metals: 

Rej)orts  of  Experiment  j  on  the  Strength  and  other  Properties  of  ?Ictals 
for  Cannon.  Vv'ith  a  Description  of  the  JIachincs  for  testing  Mctalr-, 
and  of  the  Classification  cf  Cannon  in  service.  I5y  Ofliccrs  of  the  Ord- 
nance Department  U.  S.  Army.  By  authority  of  the  Secretary  of  War. 
Illustrated  by  25  Jargc  steel  plates.     In  one  volume,  4to.     .        $10.00 

SULLIVAI'T. — Protection  to  Native  Industry. 
By  Sir  Edavaed  Suli.iva:,',  Baronet,  author  of  "Ten  Chapters  on 
Social  Reforms."     la  one  volume,  8vo $1.50 

Tables   Showing  the  "Weight  of  Round,  Square,  and 
Flat  Bar  Iron,  Eteel,  etc.. 
By  Measurement.     Cloth 63 

TAYLOR.— Statistics  of  Coal : 

Including  Mineral  Bituminous  Substances  employed  in  Arts  and 
Manufactures;  with  their  Geograi)hical,  Geological,  and  Commercial 
I)istribution  and  Amount  of  Production  and  Consumption  on  the 
American  (.'ontinent.  Witli  Incidental  Statistics  of  the  Iron  MaTiu- 
facture.  By  II.  C  T.VYLOK.  Second  editiou,  revised  by  S.  S.  IIal- 
DEMAX.  Illustrated  by  five  Maps  and  many  wood  engravings.  8vo., 
cloth $10.00 

TEMPIiETON.— The  Practical  Examinator  on  Steam 

and  the  Steam-Engine : 

Witli  Instructive  Tlefereiiccs  relative  thereto,  arranged  for  the  Use  of 

Engineers,  Student.s,  and  otlicrs.     By  Wm.  TEiMI'LKTOn,  Engineer. 

12mo $1.25 

THOMAS.— The  Modern  Practice  of  Photography. 

By  II.  W.  Tfiomas,  F.  C.S.     8vo.,  cloth 75 

THOMSON.— Freight  Charges  Calculator. 

By  Andrew  Thomson,  Freight  Agent.     2}mo.     .         .        .        $1.25 

TURNING:   Specimens  of  Fancy  Turning  Executed 
on  the  Hand  or  Foot  Lathe: 

Witli  Geometric,  Oval,  .and  Iv'cciitric  Chucks,  and  Elliptical  Cutting 
Frame.  By  an  Aniat<!ur.  Illustrated  by  30  exquisite  Photographal 
4to $3.00 


HENRY  CAREY  BAIRD'S  CATALOGUE.  21 

Turner's  (The)  Companion : 

Containing  Instructions  in  Concentrif,  Elliptic,  and  Eccentric  Turn- 
ing :  also  various  Plates  of  Chucks,  Tools,  and  Instruments  ;  and  Di- 
rections for  using  the  Eccentric  Cutter,  Drill,  Vertical  Cutter,  and  ' 
Circular  Rest;  with  Patterns  and  Instructions  for  working  them.    A 
new  edition  in  one  volume,  12nio.  $1.50 

URBIN.— BRULL.— A  Practical  Guide  for  Puddling 
Iron  and  Gteel. 
By  Ed.  Urbix,  Engineer  of  Arts  and  Manufactures.  A  Prize  Essay 
read  before  the  Association  of  Engineers,  Graduate  of  the  School  of 
Mines,  of  Liege,  Belgium,  at  the  Meeting  of  1S(35-(J.  To  which  is  added 
A  Comparison  of  the  Resisting  Properties  of  Iron  and  Steel. 
By  A.  Brull.  Translated  from  the  Erench  by  A.  A.  Eesquet,  Che- 
mist and  Engineer.    In  one  volume,  8vo $1.U0 

VAILE. — Galvanized  Iron  Cornice-Worker's  Manual: 

Containing  Instructions  in  Laying  out  the  Different  Mitres,  and  Ma- 
king Patterns  for  all  liinds  of  Plain  and  Cii'cular  Work.  Also,  Tables 
of  ^V'eights,  Areas  and  Circumferences  of  Circles,  and  other  Matter 
calculated  to  Benefit  the  Trade.  By  CuARLES  A.  Vaile,  Superin- 
tendent "  Richmond  Cornice  Works,"  Richmond,  Indiana.  Illustra- 
ted by  21  Plates.     In  one  volume,  4to ir'5.00 

VILLE.— The  School  of  Chemical  Manures : 
Or,  Elementary  Principles  in  the  Use  of  Fertilizing  Agents.     From  the 
French  of  M.  Geokge  Ville,  by  A.  A.  Fesquet,  Chemist  and  Engi- 
neer.    With  Illustrations.     In  one  volume,  12  mo.         .         .         §1.25 

VOGDES.— The  Architect's  and  Builder's  Pocket  Com- 
panion and  Pi'ice  Book: 

Consisting  of  a  Short  but  Comprehensive  Epitome  of  Decimals,  Duo- 
decimals, Geometry  and  jlensuration ;  with  Tables  of  U.  S.  Measures, 
Sizes,  Weights,  Strengths,  etc.,  of  Iron,  Wood,  Stone,  and  various 
other  Materials,  Quantities  of  Materials  in  Given  Sizes,  and  Dimen- 
sions of  Wood,  Brick,  and  Stone ;  and  a  full  and  comjjlete  Bill  of 
Prices  for  Carpenter's  Work  ;  also.  Rules  tor  Computing  and  Valuing 
Brick  and  Brick  Work,  Stone  Work,  Painting,  Plastering,  etc.  By 
Frank  W.  Vogdes,  Architect.  Illustrated.  Full  bound  in  pocket- 
book  form. $2.00 

Bound  in  cloth. 1.50 

WARN,— The  Sheet-Metal  Worker's  Instructor: 
For  Zinc,  Sheet-Iron,  Copper,  and  Tin-Plate  W^orkers,  etc.  Contain- 
ing a  selection  of  Geometrical  Problems ;  also.  Practical  and  Simple 
Rules  for  descrilting  the  various  Patterns  required  in  the  different 
branches  of  the  above  Trades.  By  Reuben  H.  Warn,  Practical  Tin- 
plate  Worker.  To  which  is  added  an  Appendix,  containing  Instruc- 
tions for  Boiler  ]\Iaking,  Mensuration  of  Surfoces  and  Solids,  Rules  for 
Calculating  the  Weiglits  of  different  Figures  of  Iron  and  Steel,  Tables 
of  the  Weights  of  Iron,  Steel,  etc.  Illustrated  by  32  Plates  and  37 
Wood  Engravings.    Svo. $3.00 


22  HENRY   CAREY   BAIRD'S  CATALOGUE. 

WATSON.— A  Manual  of  the  Hand-Lathe: 

Comprisiiij;  Concise  Directions  for  workin'^  ^letals  of  all  kinds,  Ivory, 
Bone  and  Precious  Woods;  Dyeing,  Coloring,  and  French  Polishing; 
Inlaying  by  Veneers,  and  various  methods  practised  to  produce  Elabo- 
rate work  with  Dispatch,  and  at  tSniall  Expense.  Hy  EuBEKT  P. 
"Watsox,  late  of"  The  Scientific  American,"  Author  of"  The  Modern 
Practice  of  American  Machinists  and  Engineers."  Illustrated  by  78 
Engravings $1.50 

WATSON.— The  Modern  Practice  of  American   Ma- 
chinists and  Engineers : 

Including  the  Construction,  Apijlication,  and  Use  of  Drills,  Lathe 
Tools,  Cutters  for  Boring  Cylinders,  and  Hollow  Work  Generally, 
with  the  most  Economical  Speed  for  the  same  ;  the  Results  verified  by 
Actual  Practice  at  the  Lathe,  the  Vice,  and  on  the  Floor.  Together 
with  Workshop  Management,  Economy  of  Manufacture,  the  Steam- 
Engine,  Boilers,  Gears,  Belting,  etc.,  etc.  By  Egbert  P.  Watson, 
late  of  the  "  Scientific  American."  Illustrated  by  86  Engravings.  In 
one  volume,  12mo §2.50 

WATSON.— The  Theory  and  Practice  of  the  Art  of 
Weaving  by  Hand  and  Power : 

With  Calculations  and  Tables  for  the  use  of  those  connected  with  the 
Trade.  By  Jonx  Watson,  ]\Ianufhcturer  and  Practical  Machine 
Maker.  Illustrated  bv  large  Drawings  of  the  best  Power  Looms. 
Svo.  .        .        .     ' $7.50 

WEATHEB,LY.— Treatise  on  the  Art  of  Boiling  Su- 
gar, Crystallizing,  Lozenge-making,  Comfits,  Gum 
Goods. 
12mo $2.00 

WILL.— Tables  for  Qualitative  Chemical  Analysis. 

By  Professor  IIkinkicii  Will,  of  (iiessen,  (icrinany.  Seventh  edi- 
tion. Translated  by  CKAKLEs  F.  HiMES,  Ph.  D.,  Professor  of  Natu- 
ral Science,  Dickinson  College,  Carlisle,  Pa.  .         .         .  ^1.50 

WILLIAMS.— On  Heat  and  Steam : 

Eiiiljracing  New  Views  of  Vaporization,  Condensation,  and  Explosions. 
By  CiiAKLES  Wye  Williams,  A. I.e. E.    Illustrated.    8vo.      $3.50 

WOHLER.— A  Hand-Book  of  Mineral  Analysis. 

By  F.  WoiiLEi;,  Professor  of  Clu'inistry  in  the  University  of  GJittin- 
gen.  Edited  hy  Henry  B.  N.v.son,  Professor  of  Chemistry  in  the 
liensselaer  Polytechnic  Institute,  Troy,  New  York.  Illustrated.  In 
one  volume,  12mo.     .........         $3  00 

WORSSAM.— On  Mechanical  Saws: 

From  the  Transactions  of  the  Society  of  Engineers,  18G9.  By  S.  W. 
WoRSSAM,  Jr.     Illustrated  by  18  large  jdates.     8vo.      .         .        $a.oC 


HENRY  CAREY  BAIRD'8  CATALOGUE.  23 


RECENT  ADDITIONS  TO  OUR  LIST. 


AUERBACH. — Anthracen  :  Its  Constitution,  Properties,  Man- 
ufacture, and  Derivatives,  including  Artificial  Alizarin,  An- 
thrapurpurin,  with  their  applications  in  Dyeing  and  Printing. 

By  G.  AUEKBACH.     Translated  and  edited  by  Wm.  Ckookes,  F.  R.  S. 
Svo.  $5.00 

BECKETT.— Treatise  on  Clocks,  Watches  and  Bells. 

By  Sill  Edml'ND  BiiCKETT,  Bart.     Illustrated.     12ino.         .        $1.75 

BARLOW. — The  History  and  Principles  of  Weaving,  by  Hand 
and  by  Power. 

Several  Hundred  Illustrations.     Svo $10.00 

BOURNE. — Recent  Improvements  in  the  Steam  Engine. 

By  .John  Bouuxp:,  C.  E.  Illustrated.  l(3nio.  .  .  .  $1.50 
CLARK. — Fuel :    Its  Combustion  and  Economy. 

By  IX  KiNNiiAR  Clakk,  C.  E.  144  Engravings.  12mo.  .  $2.25 
CRISTIANI.— Perfumery  and  Kindred  Arts. 

By  II.  S.  Ckistiani.    8vo.  $5.00 

COLLENS.— The  Eden  of  Labor,  or  the  Christian  Utopia. 

12mo.     Pai)er,  $1.00;  Cloth,  $1.25 

CUPPER.— The  Universal  Stair  Builder. 

Illustrated  by  29  plates.     4to. $5.00 

COOLEY. — A  Complete  Practical  Treatise  on  Perfumery. 

By  A.  .J.  CooLEY.     12nio $1.50 

DAVIDSON. — A  Practical  Manual  of  House  Painting,  Grain- 
ing, Marbling  and  Sign  Writing  : 

■With  9  Colored  Illustrations  of  Woods  and  Marbles,  and  many  Wood 
iMigravings.     12nio. $3.00 

EDWARDS.— A  Catechism  of  the  Marine  Steam  Engine. 

By  E.MORY  Edw.mid.s.     Illustrated.     12nio.  .         .         .         $2.00 

HASERICK.— The  Secrets  of   he  Art  of  D3  eing  Wool,  Cotton, 
and  Linen  : 
Including   Bleaching  and  Coloring  Wool   and   Cotton    Hosierv  and 
Itandoin  Yarns.     By  E.  C.  IIaskrick.     Illustrated  by  323  Dyed  Pat- 
terns of  the  Yarns  or  Fabrics.     8vo $25.00 

HENRY.— The  Early  and  Later  History  of  Pfetroleum. 

By  J.  T.  Henry.     Illustrated.     8vo.      .        .        .        .        .        $4.50 


24  HENRY  CAREY  BAIRD'S  CATALOGUE. 

KELLOGG.— A  New  Monetary  System. 
By  El).  Keli.ogg.     Fifth  Edition.     Edited  by  M.\iiY  Kellogg 
Putnam.     12nio.     Paper,  $1.00;  Cloth,  ....        $1.50 

KEMLO.— Watch  Repairer's  Hand-Book, 
Illustrated.     12mo.  $1.25 

MORRIS. — Easy  Rules  for  the  Measurement  of  Earthworks  by 
means  of  the  Prismoidal  Formula. 

By  Elavood  Moiikis,  C.  E.    8vo.  $1.50 

McCULLOCH.— Distillation,  Brewing  and  Malting. 

By  J.  C.  McCi'LLOcir.     12mo $1.00 

NEVILLE.— Hydraulic  Tables,    Co-Efficients,   and    Formulae 
for  Finding  the  Discharge  of  Water  from  Orifices,  Notches, 
Weirs,  Pipes,  and  Rivers. 
Illustrated.     12mo $5.00 

NICOLLS.— The  Railway  Builder. 

A  Hand-l)ook  for  Estimatiiif;  the  Prol)al)le  Cost  of  American  Railway 
Construction  and  Equi])Uient.  By  \\  >i.  J.  NiC'OLLS,  C.  E.  Pocket- 
book  Form i2.U0 

NORMANDY.— The     Commercial     Hand-book    of    Chemical 
Analysis. 
By  II.  M.  XoAD,  Ph.  D.     12mo $5.00 

PROCTOR.— A  Pocket-Book  of  Useful  Tables  and  Formulae 
for  Marine  Engineers. 
By  Fkaxk  Pkoctou.     Pocket-book  Form.  .        .        .        $2.00 

ROSE. — The  Complete  Practical  Machinist: 

Enibraciiiu;  Lathe  Work,  Vise  Work,  Drills  and  Drillinir,  Tajis  and 
Dies,  Hardening  and  Tenij>erin<;,  the.iSIakin<;  and  L  se  ol  Tools,  etc., 
etc.     By  Joshua  Ko.se.     130  Illustrations.     12mo.        .        .        $2.50 

SLOAN. — Homestead  Architecture. 

By  Sa.muel  Sloax,  .\rcliitect.     200  Engravings.     8vo.         .        $3.50 

SYME. — Outlines  of  an  Industrial  Science. 
By  David  Syme.     12mo $2.00 

WARE.— The  Coachmaker's  Illustrated  Hand-Book. 

Fully  Illustrated.     Svo.  $3.00 

WIGHTWICK.— Hints  to  Young  Architects. 

Numerous  Wood  Cuts.     12mo $2.00 

WILSON. — First  Principles  of  Political  Economy. 

12mo $1.50 

WILSON.— A  Treatise  on  Steam  Boilers,  their  Strength,  Con- 
struction, and  Economical  Working. 
J}v  KoUT.  WlJ.SO-""'.     Illustrated.      ]2njo $2.50 


Date  Due 


■^'y 

^  A 

L.   a.  CAT 

.    NO. 1137 

V 


GETTY  CENTER  LIBRARY 


3  3125  00685  1139 


